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https://squarecatvinyl.com/products/sha-na-na-from-the-streets-of-new-york-vg
|
en
|
Sha Na Na - From The Streets Of New York (VG)
|
http://squarecatvinyl.com/cdn/shop/files/NS03MzE0LmpwZWc.webp?v=1683120893
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Sha Na Na : From The Streets Of New York (LP) is available for sale at our shop at a great price. We have a huge collection of Vinyl's, CD's, Cassettes & other formats available for sale for music lovers
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en
|
//squarecatvinyl.com/cdn/shop/files/favicon.svg?crop=center&height=32&v=1681759055&width=32
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Square Cat Vinyl
|
https://squarecatvinyl.com/products/sha-na-na-from-the-streets-of-new-york-vg
|
Media Condition: Very Good (VG)
Sleeve Condition: Very Good (VG)
Country: US
Released: 1973-08-29
Genre: Rock
Style: Doo Wop
Comments:
Data provided by Discogs
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8788
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| 54
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https://www.prnewswire.com/news-releases/former-lead-singer-of-rock-band-sha-na-na-johnny-contardo----known-for-those-magic-changes-in-both-the-grease-movie-and-soundtrack----available-to-speak-about-grease-45th-anniversary-in-perspective-301813308.html
|
en
|
Former Lead Singer of Rock Band "Sha Na Na," Johnny Contardo -- Known For "Those Magic Changes," in Both the "Grease" Movie and Soundtrack -- Available to Speak About "Grease" 45th Anniversary in Pers
|
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"Johnny Contardo"
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2023-05-02T10:07:00-04:00
|
/PRNewswire/ -- As fans of the movie, "Grease," anticipate viewing the film in theaters around the country starting May 14, Johnny Contardo – who sang, "Those...
|
en
|
/content/dam/prnewswire/icons/2019-Q4-PRN-Icon-32-32.png
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https://www.prnewswire.com/news-releases/former-lead-singer-of-rock-band-sha-na-na-johnny-contardo----known-for-those-magic-changes-in-both-the-grease-movie-and-soundtrack----available-to-speak-about-grease-45th-anniversary-in-perspective-301813308.html
|
NEW ORLEANS, May 2, 2023 /PRNewswire/ -- As fans of the movie, "Grease," anticipate viewing the film in theaters around the country starting May 14, Johnny Contardo – who sang, "Those Magic Changes," with former band Sha Na Na in Rydell High School's gym back in 1978 – fondly recalls being on set, and examines the magical changes brought forth by the film both then and now.
One of the film's memorable scenes is a dance contest held in the gym, filled with intense dance moves, romance, and aspirations of local fame. All the while, Sha Na Na as "Johnny Casino and The Gamblers" played on, with six songs appearing on the "Grease" Soundtrack, which ranked #1 on Billboard in 1978, and earned a Platinum record, plus a Grammy nomination for Album of the Year.
In real life, the band was in the middle of a concert tour and only had three days to play and sing songs for the film that would last a lifetime on the film's soundtrack.
"The set gave an instant throwback to a different, simpler era; however, the excitement was palpable. The atmosphere had all the electricity of any real high school dance," says Contardo. "It was an honor to represent early Rock 'n Roll in the midst of all that in the 1970s. I still try to do that with the concerts that I'm involved with today."
At 71, Contardo counts himself lucky to have the opportunity to perform for both private functions and in "best of the best" concerts which feature original singers from the 50s and 60s.
He began singing professionally as a teenager in Boston, and then landed the lead role of "Claude" in Boston's first production of "Hair" at age 19. Contardo sang his way into Sha Na Na with his now world-famous tenor voice, touring globally for 13 years (1971-1983). They enjoyed a #1 syndicated eponymous variety TV show with live performances, comedic acting, and dancing.
"Just as there was magic in the air during that dance in a simpler era, it reminds you to strive for a healthy and simple life, so you can notice and appreciate the magic in all of life's inevitable changes."
An avid gardener, Italian and Cajun cook, and decades-long tennis player, Contardo exercises his vocal abilities daily and bikerides eight miles every day. He gives online voice lessons to students and adults, and provides vocal coaching to amateur and professional singers via his website: www.johnnycontardo.net.
To book an interview with Johnny Contardo to discuss the film or soundtrack of "Grease," regarding the "Grease" 45th Anniversary, Rock, or Vocal Health and Expertise:
SOURCE Johnny Contardo
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https://www.dailyrecord.com/story/entertainment/things-to-do/2018/10/18/sha-na-na-scott-simon-still-playing-50-years-later-newton-theatre-newton-nj/1535433002/
|
en
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Sha Na Na still playing 50 years later (at Newton Theatre)
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"Bill Nutt, Correspondent, Daily Record"
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2018-10-18T00:00:00
|
1950s revival group, now celebrating its own 50th anniversary, performs October 19.
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en
|
Morristown Daily Record
|
https://www.dailyrecord.com/story/entertainment/things-to-do/2018/10/18/sha-na-na-scott-simon-still-playing-50-years-later-newton-theatre-newton-nj/1535433002/
|
Sha Na Na will perform at Newton Theatre on Friday, October 19.
The group, featuring original members John “Jocko” Marcellino and Donny York, specializes in faithful recreations of the rock ‘n’ roll hits of the late 1950s and early 1960s.
Sha Na Na formed at Columbia University from an offshoot of the school’s glee club. It gained exposure through such appearances as its performances at the Woodstock festival in 1969 and in the 1978 movie “Grease.”
It all started with the Kingsmen.
No, not THAT Kingsmen, the Pacific Northwest rock band that hit the charts with an indecipherable version of “Louie Louie.” This Kingsmen was an offshoot of the glee club at Columbia University in New York City.
In 1969, the Kingsmen started to expand their repertoire from the usual a capella standards by incorporating the doo-wop songs that were mainstays of late 1950s radio, like “In the Still of the Night” and “Two Silhouettes on the Shade.”
Before long, the doo-wop numbers began to dominate the set list. Then the singers started dressing up like greasers, with leather jackets and slicked-back hair. They finally adopted a name using nonsense syllables from the song “Get a Job”: Sha Na Na.
“We played our first show at Columbia,” recalled John “Jocko” Marcellino, the group’s drummer. “We played the 12 songs we knew, and then we played them again.”
Half a century later, a few of the hairs are gray beneath the grease, and a number of the faces have changed. But Sha Na Na remains committed to the music of the first decade of rock ’n’ roll – as Marcellino called it, the “pre-Beatles era.”
Sha Na Na (which also includes original member Donny York and long-time musician Screamin’ Scott Simon) will play the Newton Theatre on Friday, October 19.
With its outfits and audience participation routines (including dancing), a Sha Na Na is a little more than a concert. “We’re an entertainment act, but we’re true to the music,” said Marcellino. “We play music people love in an accurate and fun way.”
See also: Bob Lanza Blues Band brings his music locally
See also: Morristown gets the blues again – and all that jazz
See also: Delbert not giving up on music
That music always came first for Marcellino, who grew up in Boston listening to such radio stations as WMEX and WILD. He fondly remembers deejay Arnie “Woo Woo” Ginsburg, who began his program with James Brown’s cover of “Night Train.”.
“Those were great records and great songs,” said Marcellino. “They were the standards of rock ‘n’ roll.”
Marcellino and the other original members of Sha Na Na all shared the affection for that era, even the late 1960s was the height of psychedelia and hard rock. But simply the fact that Sha Na Na was bucking the trend brought them attention.
The band was playing a small club in Hell’s Kitchen that attracted such clientele as members of Led Zeppelin and the Rolling Stones when they were in New York. Perhaps most significantly, the group attracted the attention of Jimi Hendrix.
One night, Hendrix introduced Sha Na Na to two men who were producing a weekend music festival that August. “They asked if we wanted to play it,” Marcellino said. “I’d been hearing about it on FM radio, and I knew it would be something big.”
That gig turned out to be the fabled Woodstock festival. Sha Na Na enjoyed a prime slot on the line-up, playing immediately before Hendrix’s closing set.
Marcellino noted that Hendrix – who had a commitment to be the last act – refused to play until Sha Na Na and a few other groups were given the chance to perform. “Jimi was the sweetest guy,” said Marcellino.
In terms of direct financial renumeration, Woodstock was a bust for the band. Marcellino said that the 12-member band was paid with a check for only $350. “And the check bounced,” he added with a laugh.
But a brief clip of Sha Na Na playing “At the Hop” in the Oscar-winning documentary about Woodstock led to more and more exposure. The band had its own TV variety show for years and also appeared in the high-profile movie “Grease.”
As a result, Sha Na Na continues to attract audiences, according to Marcellino. He pointed out that several generations have rediscovered the band over the years, and the typical audience for their concerts includes both teens and 60-somethings.
“We rotate songs in and out of our sets,” he said. “We have a seven-man ensemble, and six of them are lead vocalists. I take the R&B stuff, like Little Richard’s ‘Lucille.’ The music is great, and I just love doing those songs.”
IF YOU GO: SHA NA NA
WHAT: The band, featuring original members John “Jocko” Marcellino and Donny York, specializes in faithful recreations of the rock ‘n’ roll hits of the late 1950s and early 1960s. Next year the group will celebrate the 50th anniversary since its founding at Columbia University.
WHEN: 8 p.m. Friday, October 19.
WHERE: Newton Theatre, 234 Spring. St., Newton
TICKETS: $37 to $42
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http://www.ashevilledailyplanet.com/news/5874-an-original-sheds-light-on-sha-na-na-and-how-it-spawned-doo-wop-revival-miscast-50s-as-golden-era
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en
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An ‘original’ sheds light on Sha Na Na — and how it spawned doo
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Asheville Daily Planet provides local news, entertainment, sports, and more for Asheville and Western North Carolina.
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Asheville Daily Planet
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http://www.ashevilledailyplanet.com/news/5874-an-original-sheds-light-on-sha-na-na-and-how-it-spawned-doo-wop-revival-miscast-50s-as-golden-era
|
By JOHN NORTH
This e-mail address is being protected from spambots. You need JavaScript enabled to view it
A discussion on the musical and cultural impact of Sha Na Na — formed in 1969 as a doo-wop revival band that unexpectedly impressed guitar-great Jimi Hendrix who helped pave the way for the band’s unlikely smashing national debut at the famed Woodstock Music Festival (a few months later) in August 1969 — was held Nov. 2 during the Music to Your Ears session at the Asheville Guitar Bar in Asheville’s River Arts District.
The 90-minute program, which drew a full house of about 30 attendees, featured Elliot “Gino” Cahn — a founding member of Sha Na Na (who sang and played rhythm guitar) and now is an Asheville-area resident — in an “interactive” discussion (including a few breaks to listen to recordings by the group) with Asheville-based author and music journalist Bill Kopp.
Periodically, the program was opened to questions from audience members for Cahn. And there were many questions, including afterward. (Cahn is now mainly an entertainment lawyer, but still loves performing music.)
A revelation to emerge from Cahn’s talk was his contention that Sha Na Na members agreed from the start to capitalize off the idea that the band should present the America of the 1950s as Americans, in 1969, wanted to remember it, instead of the rather ugly way it really was.
Before the program began, Kopp, the host, played over the Asheville Guitar Bar’s sound system covers — by Sha Na Na — of several doo-wop classics, including the following:
• “Get a Job” — a song originally recorded by The Silhouettes that sold more than 1 million records and reached No. 1 on both the pop and rhythm and blues record charts in 1958.
• “Teen Angel” — a song originally recorded by Mark Dinning that hit No. 1 on the Billboard chart in 1960, despite the reported initial reluctance of some disc jockeys to play it because of its morbid subject matter — a teenager’s car stalls on the railroad tracks.
• “Book of Love” — a song originally recorded in 1958 by The Monotones that reached No. 5 on the pop chart and No. 3 on the R&B chart.
(In a brief interview after the program, Cahn told the Daily Planet that he grew up singing doo-wop music with groups in New York City, including outside under the streetlamps at night, as welll as singing in any other locales available. He said he also had deeply experienced listening and singing to jukebox music in diners and elsewhere. What’s more, he admitted a deep love for doo wop music.)
The formal program began with Cahn noting that, while attending Columbia University, he joined what is billed as the school’s “oldest and finest” all-male a cappella group “since 1948,” the Columbia Kingsmen, where, in Ivy League style, he said with a laugh, “it was blazers with repp ties (classic, diagonally striped silk ties) and grey flannels (trousers).”
The group performed about three times a year, he said, recalling that it once performed for the the “psych ward” at a local hospital, where, he noted that, in an ironic twist, the group “sang Little Anthony and the Imperials’ ‘Goin’ Out of My Head,” a 1965 hit that was a major leap from the Columbia Kingsmen’s usual repertoire — but was well-received by both the staff and the mental patients.
“I took over the musical direction of this group when I was a sophomore. We did more folk-rock stuff,” at first. “But we still wore navy blue (blazer) jackets, ties and grey flannel pants.”
After a pause, Cahn said, “We had someone (George Leonard) in the group who was obsessed with pop culture and trivia — and he put on the first All-Ivy Trivia Contest, at which Sha Na Na performed The Diamonds’ “Little Darlin’,” a 1957 doo-wop classic
At that point, Sha Na Na’s cover of “Little Darlin’” then was played over The AshevilleGuitar Bar’s sound system.
Cahn reiterated that, standing in a semi-circle, “we did this (song), wearing navy blue (blazer) jackets, ties and grey flannel pants.”
According to an essay, “Sha Na Na and the Woodstock Generation,” it was during the group’s performance at the trivia contest that “when Rob Leonard did the spoken solo (of “Little Darlin’” when the audience reaction was so intense that George Leonard (already studying choreography) had his vision of a group that would sing only ‘50s rock and perform dances like the Busby Berkely films Susan Sontag had taught George to love.”
The essay added, “By great luck, George and Rob found in the (Columbia) Kingsmen Elliot Cahn and Al Cooper, who could rewrite simple doo-wop harmonies into operatic compositions for 12 voices....”When the school’s fraternities decided to throw a spring 1969 carnival, the essay noted, George Leonard said that if they hired the Columbia Kingsmen at $100 per man, he would repackage it as the First East Coast Grease Festival and advertise it up and down the East Coast.
The essay noted that “the Grease Festival turned out to be the first taste of Woodstock, three months later. Five thousand spaced-out, peaceful freaks from Harvard to Virginia made a bobbing sea of heads beneath the (Columbia) Kingsmen, who performed on the steps next to (their) alma mater. It was a grand ending for the Class of ‘69, soon to be called The Woodstock Generation.”
To that, Cahn added with a smile, “We threw a party with a flyer called, ‘Come as you were.’”
To much acclaim, “we played our set (of all of the doo wop songs that the group had rehearsed) — and then they made us play our set again,” Cahn said. “That’s all we knew. So something kind of clicked” with the crowd becoming so ecstatic over the doo wop music.“
Then someone laid out a plan,” Cahn explained. “In 1969, the whole country was yearning for a return to the 1950s — even though many people were trying to forget that the ‘50s even happened.
“This guy, George Leonard, soon told the other members of the Columbia Kingsmen that “if you do it exactly as I say it, you’ll be the heroes” of their generation and beyond.
When one of the group members objected, noting, “But George, only one of us ever even played in a band before,” Cahn said, “He (Leonard) looked at us and said (merely), ‘Details!’“
So he convinced us after this one show” to become a 1950s doo wop revival group, “so we spent one month furiously learning songs and choreography. Everyone showed up in (‘50s doo wop) costumes,” ranging from gold lamé suits to greaser attire.
After another pause, Cahn noted that in 1969, “The atmosphere at Columbia was real hostile. People on the left and the right were talking about as kindly to one another as people are now.
“The strange thing is these people who hated each other were walking around the halls, singing together” — but only to 1950s doo wop songs.“Then we did a show for 4,000-5,000 people. It was just riotous. We found a manager and agent. For our very, very first gig, we played at Dino’s Club in mid-town New York.”While waiting alone in Dino’s office, Cahn said, “I saw a contract (on the desk that he chose to read that specified no payment was to made to the group), so somebody was ripping us off on our very first gig.”
The group’s first agent-manager also wanted to change the name of the Columbia Kingsmen to The Put-Ons, so, according to the aforementioned essay, “George changed our name to Sha Na Na — just for the weekend, he promised... he’d think of something better next week. “We (then) hit so fast he became scared to (change the group’s name to something else). Within two months we were the hottest rock act in New York, held over week after week at Steve Paul’s Scene, where the stars themselves partied.
“One night Janis Joplin ran backstage to kiss us, reeking of Southern Comfort; another night Rob was being helped off the Scene’s floor after collapsing in the finale
“One night Janis Joplin ran backstage to kiss us, reeking of Southern Comfort; another night Rob was being helped off the Scene’s floor after collapsing in the finale of ‘Teen Angel,’ and Bruce Clarke, Ellie Cahn, and Henry Gross were blasting into ‘Wipe Out,’ when Rob looked up and saw Jimi Hendrix not 10 feet away, jumping up and down on a chair, clapping and waving his arms, looking like he was going to take off and fly. Later he told us we were ‘Right ON!’”
Regarding the late guitar great, Cahn said, “Jimi Hendrix was there literally every night. I was playing electric guitar… There was some woman standing up and ripping at her hair like we were the Beatles. It was Janis Joplin. Eric Clapton came” and was enthused. “Within two weeks, we had signed with the William Morris Agency. We gpt booked at the Filmore."
Cahn added, "Then this very scruffy guy came up and said, 'Hey man, I'm playing at Woodstock! Would you guys (Sha Na Na) lke to play" there, too? It was Jimi Hendrix — and that show he got us booked at was ... Woodstock!"
At that point, Kopp asked Cahn, “How many gigs do you think you (Sha Na Na) did before the Woodstock show?”
“Maybe four or five,” Cahn replied.
“Golly!” Kopp exclaimed, before asking, “What about Woodstock?”
“We (Sha Na Na) were supposed to go on right after Joe Cocker, but it started to rain, so other performers wanted to go on (and were allowed to perform, so they could leave immediately afterward) before us,” Cahn said of the Woodstock festival.
“Jimi Hendrix’s contract said he would close the show” and, Cahn said, given the delays and problems caused by the rain deluge before Hendrix’s scheduled performance, Hendrix could have just insisted to perform the first thing the next morning and been finished with the concert.
Instead, Cahn added, “He (Hendrix) was basically nice enough to let us go on first (on the last morning of Woodstock), right before him, We were hanging out with him (Hendrix) — and he kind of liked us” and the Sha Na Na’s doo wop music. “He thought we were cute little college kids.”
After another pause, Cahn said, “I knew my band (Sha Na Na) was going to tear it up (energize the Woodstock audience) — and there was (almost) nobody there (a reduced crowd because of the rain). We sounded terrible. It was a disaster. But we played.”
Kopp then interjected, “There’s the idea that ‘whoever writes history determines who is remembered.’”
To that end, Kopp suggesed that everyone should “read the list of famous bands which played (at the Woodstock festival) that weren’t remembered because they weren’t included in the (subsequent) movie (that featured the festival).
“So you guys (Sha Na Na) were fortunate, in that sense — that you were included in the soundtrack... and in the movie.”
Responding, Cahn said, “We (Sha Na Na) got (paid) $300 for playing Woodstock. Half gets paid to the agent. The other half gets paid later (to the group) — and the ($150) check (to pay the 12 group members) bounced” when he tried to cash it.
Wryly, he added that, now, “I wish I had kept that check instead” as a momento, given that it was such a paltry amount for a performance by a large group at the most renowned of all music festivals, rather than losing track of the check after it bounced for insufficient funds in the banking system.
Further, Cahn said, “They were going to cut us from the (‘Woodstock Festival’) film, but we went over very well with the focus group, so that’s how we got included in the film.” (The group was featured in its performance of Danny & the Junior’s 1957 doo wop classic, “At the Hop.”)
The Sha Na Na co-founder then noted that “the first big gig we did (after Woodstock) was at the Filmore East. I opened my mouth (as the lead singer on the first song) and nothing came out,” so he shook the microphone up and down, as if it was its fault, before his voice returned, creating much attention and interest from the crowd over his seemingly crazed antics.
“We (also) did have a record deal, we just hadn’t started recording yet,” he said.
Kopp said, “Bands have different experiences with overnight success. You (Sha Na Na) guys had it close to ‘overnight?’” He then asked Cahn if he could address that quandary.
“There were 12 of us — one is now an Old Testmanent scholar — and all were still in college, except for me,” Cahn replied. “So basically, we could only play on long weekends and vacations, so we didn’t get carried away like some bands do,” with overnight success.
“Henry Gross was our first guitar player… and he quit after a year to pursue a solo career... He had a hit about (the late) Carl Wilson’s dog — and it sounded just like a Beach Boys’ song. (Wilson was an original member of the Beach Boys.)
Someone in the audience then asked, “Why did you quit Sha Na Na?”
“Without being melodramatic, I looked at how my life would be — and that it would be bad for my soul... perpetually crazy,” Cahn answered. “I would get bored really fast. I just thought this is not good.”
However, Cahn noted that prior to leaving the group, he was involved with Sha Na Na’s first four albums.
Kopp asked, “Did subsequent producers run the show?”
In reply, Cahn said, “We (Sha Na Na) weren’t really very good (musically). We had a terrific live act — and people just loved us. But when we got into the studios, we weren’t particularly good — and we were singing covers, so that’s not good” that Sha Na Na did not sound as good as the originals.
Further, Cahn asserted, “None of our (Sha Na Na) albums did particularly well. The fourth one was a ‘gold album,’” but despite achieving the “gold” distinction, he said the group just did not excel musically.
At that point, Kopp showed the program attendees a Sha Na Na album cover, autographed for him by Cahn.
Cahn then triggered laughter from the audience — and Kopp, the emcee — when he quipped, “I told him (Kopp) the last autograph I did... was for the IRS.”
Cahn then recounted that, during his time with Sha Na Na, the group performed at concerts that included famous acts on the bill, including then-ex-Beatle John Lennon (and Yoko Ono), Stevie Wonder and the then-up-and-coming singer-guitarist Bruce Springsteen.
And the emcee at one concert was Geraldo Rivera, whose show business career was just getting started and who Sha Na Na befriended.
To a questions from the audience, Cahn said, “We never met John (Lenon). He barricaded himself within his dressing room.
“We met Stevie Wonder — and he hung out with us. He was playing piano and we were singing with him.
“We met Keith Moon, the drummer of The Who, who is my favorite drummer of all time, at a concert at which we were playing at. And he invited me and some others to a party at his house. My nickname was (still) ‘Gino’ at the time....”
Kopp asked, “Outside of the United States, where did you tour?”
“When I was in the group, we did three (overseas) tours,” Cahn answered. “We did well in England and Germany, but when we were in Paris, (France) we had a disastrous concert. We were at a big dilapidated sports stadium. It probably seated 10,000 people — and maybe 200 people showed up. Among those people were a gang of French hoodlums — and maybe they thought we’d sound like Eddie Cochran (‘Summertime Blues’), so they took over the stage... and we ended the concert” in complete disarray.
Kopp queried, “The Grateful Dead?”
“Jerry (Garcia, the Dead’s principal songwriter, lead guitarist, and a vocalist) liked us quite a bit. He smiled broadly (when Sha Na Na performed) — he probably was stoned.”
“Sly Stone?” Kapp asked, referring to the frontman for the soul group Sly & the Family Stone.
“Three hours late,” Cahn said succinctly in response. “He (Stone) did show up, but he was always late
“Alice Cooper?” Kopp asked.
“We did a lot of shows with him — and he loved us and we loved him,” Cahn answered. “We got along very well with him.”
“Yes,” Kopp said, “you both had the ‘theatrical’ thing,” an assessment that drew no disagreement from Cahn.
Kopp asked, “The film ‘Festival Express’ — were you in it?”
“Yes, we were in it,” Cahn said of Sha Na Na., noting that the band also was booked to play at the Filmore West, in a situation wherein if it canceled an appearance, it would never be invited back, “so we only played the last stop of the festival, in Calgary, where I think the film was made.” (“Festival Express” was about a 1970 train tour (of the same name) that rolled across Canada, featuring some of North America’s top rock bands.)
“The film got shot… and then they ran into financial problems. And so it was sitting in someone’s cellar for 30 years,” instead of being released in theaters. However, the tapes eventually were rediscovered and the film was released, Cahn said.
“Bruce Springsteen?” Kopp asked.
“He opened a bunch of shows for us,” Cahn said. “He was just getting going” when the members of Sha Na Na met him. “His first album had been out for a few months and wasn’t doing that well. We played a lot of colleges — and he wanted to break into the college market.”
Speaking further about Springsteen, Cahn said, “He had just learned ‘Rosalita,’ which was an amazing song and performance. We hung out together” — and Sha Na Na members were fond of the young Springsteen — and vice versa.
Kopp then asked, “Did you have a sense when you crossed paths with Springsteen that this guy would be thought of in the same way as Van Morrison” — and other musical greats?
“I thought he was really good, but I’m not sure I thought of him that way” at that point in Springsteen’s career, Cahn replied.
“Steely Dan?” Kopp asked.
“They also opened several shows for us,” Cahn answered. “There were several different characters” in Steely Dan. “Some were ‘stand-offish,’ while others were really friendly.”
Kopp asserted, “A number of music scholars credit Sha Na Na as sort of lighting the fuse to the musical revival that opened the doors to (the Broadway musical and film hit) ‘Grease.’”
In response, Cahn said, “If you listen to this guy (a Sha Na Na founder and member) George Leonard, who was the creative spark... In 1969, (he said) America was yearning for a quieter, more placid, duller world,” following the nearly nonstop protests and social unrest that were upsetting citizens across the nation.
“What George was talking about was ‘the greaser’ — rather than ‘the beatnik’ — being created (and highlighted). What we (Sha Na Na) tried to do is hand people the 1950s the way they wanted it, rather than the way it really was.”
A program attendee then asked if Sha Na Na ever wrote and performed original songs?
“We did a side on our second album that was all originals,” Cahn answered. “It was good, but not great.”
Another program attendee asked if any original members remain in Sha Na Na.
The only remaining originals in Sha Na Na, according to Cahn, are Jocko Marcellino, the drummer and vocalist; and Donny York,” a vocalist. Since the group’s founding, “they’ve gone through hundreds of people” as performers.
Cahn added, “We (Sha Na Na) did a reunion concert at Columbia (University) around five or six years ago. The most fun was when we were around the piano, where we learned we still could sing together. But I felt like an ‘old fart’ on stage.”
Kopp asked Cahn to specify what musical instruments and equipment he played and used through the years.
Cahn says he owned a Fender Stratocaster electric guitar and a Fender Showman amp — and a Les Paul Jr. electric guitar.”
Regarding Sha Na Na’s legacy and its marketability now, Cahn noted that “I ran into someone wanted to make a ‘jukebox musical’ about Sha Na Na, but the script was terrible and it never went anywhere.”
Following up, Kopp said, “There was a Sha Na Na TV series in the 1960s,” after Cahn had left the group.
“I thought it (the TV series) was awful,” Cahn asserted.
Agreeing, Kopp quipped (in an apparent reference to the group’s “greaser” aspect), “It was like ‘Hee Haw’ — with Brilcreem.”
Members of the audience laughed at Cahn’s and Kopp’s jabs at the Sha Na Na TV show, but one unidentified man in the crowd said that when he was just a young boy growing up, he watched the show each week “and loved it” then and still remembers it with great fondness today, so he said it was hurtful to hear Cahn’s and Kopp’s trashing of the show.
At that point, both Cahn and Kopp expressed their apprecation to the audience member for sharing his thoughts on the TV show — and said they did not intend to cause offense.
Then Kopp played the second song of the night — Sha Na Na’s cover of the 1961 doo wop classic “Rama Lama Ding Dong” by The Edsels.Despite Cahn’s expressed love and appreciation of doo wop music, he also made numerous critical remarks about the music and the groups, including a verbal shot at the group The Edsels for naming itself after a famously failed model of automobile.
Speaking of himself, Kopp asked, “So having played music — not that (doo wop) kind of music — the songs were short… so how long was the setlist” for Sha Na Na shows (concerts)?
“It was very long,” Cahn replied with a smile.
An audience member then asked, “Is it easy to find videos of live performances when you (Cahn) were in the group?”
“It’s not that easy,” Cahn answered. “It was right before the video era.”
With a grimace, Cahn then reiterated a comment from earlier in the program that “we (Sha Na Na, a 12-member group) got cheated out of $50 for our first gig."
The question of how the group got its name was asked again.“We were the Columbia Kingsmen,” Cahn replied, noting there already was a famous West Coast group called the Kingsmen that had recorded “Louie, Louie,” a classic rock party song.
“The first (doo wop) song we did was the Silhouettes’ ‘Get a Job,’” so the ‘sha na na’ line from that song was adopted as the new name for the group as it transitioned into 1950s’ music.
Later in the program, Cahn said, “My mom taught me how to sing… I loved harmonies” from the beginning, “so doo-wop music was perfect for me... I was the musical director of the group (Sha Na Na).”
During the program, a Daily Planet reporter asked why the tempos of most — if not all — doo wop covers by Sha Na Na were speeded up so much. Why were the gorgeous harmonies being sacrificed for the sake of speed?
"The tempos were timed to match the choreography,” Cahn replied, noting that to rev up an audience with doo wop music, especially in 1969, the group felt it had to greatly accelerate the tempos of its songs. Kopp added,
“Hardly any of those songs hit the three-minute mark.”
Agreeing, Cahn added, “We definitely sacrificed the music for the choreography. It (the Sha Na Na approach to doo wop music) was very aggressive” — and it had to be, for those times.
Kopp asked Cahn, “Do you still have a gold lamé suit?”
“I never wore one,” Cahn answered with a smile. “I really became ‘Gino’ (his Sha Na Na nickname) for a long time.
“When we played our first show, I put half a tube of K-Y (Jelly personal lubricant) in my hair and combed it back. The first time I greased my hair back, I said, “Oh god,’ I look like….”
“So what did you do once you left the band?” Kopp asked.
“I played with Henry Gross for a year and half. Then I ended up singing on some albums. As soon as I went on the road, I knew he was booked, and it was fun singing with him....
”Later, “I was drunk on a plane and reading ‘War and Peace’ — and I just thought, if Leo Tolstoy could do it (be a writer), so could I. I wanted to be writer... So I spent about a year in Los Angeles as a free-lance journalist... Then I went to law school — then graduate school. And then I worked at a think tank for several years — and was tricked by somebody to be a lawyer.”
He later became an attorney for various speed metal bands, lost his hearing and transitioned to punk pop bands, eventually managing the band Green Day.
A woman in the audience asked, “Do you still sing and, if so, what is your favorite song?”
“I still sing,” Cahn replied. “I still play the guitar.— an acoustic. Recently, I liked a song by a group called Little Big Town, a band out of Nashville, that sounds sort of like Crosby, Stills and Nash...”
Someone asked the former Sha Na Na member if he could be in another band, “playing exactly what you’d like,” what would have been his choice?
“I would have been in a band like the Byrds, something like that — or Crosby, Stills... and Cahn — that would have been nice!” Cahn said with a smile.
Kopp then noted “(Frank) Zappa was a huge doo-wop fan....”
To that, Cahn strongly agreed that Zappa loved doo wop music and “one of the guys in my band (Sha Na Na) said Frank wore a gold lamé suit.”
On a coy note, Kopp asked, “There’s a possiblity you’ll be teaching a class at UNCA?”
“Yes,” Cahn replied, “and there’s a possibility you (Kopp) will be teaching that class with me.”
Kopp then said, “Elliot and I have put together a proposal for a curriculum of the ‘History of Rock ’n’ Roll from the 1950s and ‘60s’” to teach at UNCA’s College for Seniors. “We’ve submitted our proposal, but we haven’t heard yet."
Cahn addded, "They really ought to say ‘Yes.' If that one (college class proposal) goes, you’ll ‘have’ me.”
|
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8788
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0
| 49
|
https://music.apple.com/us/album/20-best-of-sha-na-na/18453420
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en
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â20 Best of Sha Na Na
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2002-09-01T00:00:00
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Listen to 20 Best of Sha Na Na by Sha Na Na on Apple Music. 2002. 20 Songs. Duration: 49 minutes.
|
en
|
/assets/favicon/favicon-180.png
|
Apple Music - Web Player
|
https://music.apple.com/us/album/20-best-of-sha-na-na/18453420
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8788
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2
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https://concertsondvd.com/products/sah-na-na-woodstock-20-years-after-dvd-2022-release-date-8-5-2022
|
en
|
SHA NA NA: Woodstock 20 Years After 1989 (DVD) 2022 Release Date: 8/5/
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Twenty years after Woodstock, Sha Na Na once again appeared on stage at "Woodstock: Twenty Years After" along with other veterans of the original festival. If the original 1969 Woodstock Festival was a defining moment in rock history, it was also a defining moment in the history of Sha Na Na. The group's appearance -
|
en
|
ConcertsOnDVD.com
|
https://concertsondvd.com/products/sah-na-na-woodstock-20-years-after-dvd-2022-release-date-8-5-2022
|
Twenty years after Woodstock, Sha Na Na once again appeared on stage at "Woodstock: Twenty Years After" along with other veterans of the original festival.
If the original 1969 Woodstock Festival was a defining moment in rock history, it was also a defining moment in the history of Sha Na Na. The group's appearance - only the eighth in Sha Na Na's career, followed by the Woodstock album and movie, cemented their reputation and style. "We did 40 minutes and were paid $350...and the check bounced!" Sha Na Na was the only group at Woodstock without a record deal. Immediately afterwards, they had one and today the group has released eighteen albums in total, with worldwide sales of more than 20 million. Twenty years after that Woodstock performance, Sha Na Na once appeared on a stage at "Woodstock" Twenty Years After" along with other veterans of the original Woodstock festival including Melanie, Canned Heat, Country Joe MacDonald, Blood, Sweat and Tears. The energy that got them a standing ovation for their rendition of "At the Hop" (and they were the second to last act before Jimi Hendrix took the stage) This event took place 3,000 miles away at Cal State Dominguez Hills and also included performances by other luminaries from the Woodstock era including Mark Farner (Grand Funk Railroad), It's A Beautiful Day, Chambers Bros., Iron Butterfly and other rock luminaries
Track Listing:
Rock Around the Clock
Tossin' and Turnin'
The Stroll
Whole Lotta Shakin' Goin' On
MEDLEY:High School Confidential/ At the Hop
Let's Dance
Queen of the Hop
Save the Last Dance for Me
Chantilly Lace
You've Lost That Lovin' Feelin'
You Can't Sit Down
Blueberry Hill
Tequila
Hit the Road Jack
Tonite, Tonite
In the Still of the Night
Get a Job
Oh Lonesome Me
Promised Land
band intro
Rock and Roll Is Here to Stay
Goodnight My Love
Goodnite, Sweetheart, Goodnite
|
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0
| 73
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https://www.mlive.com/news/flint/2014/09/sha_na_na_star_bowzer_stumps_f.html
|
en
|
Sha Na Na star 'Bowzer' stumps for Michigan Senate candidate Gary Peters
|
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2014-09-18T01:15:33+00:00
|
Jon Bauman, known for his role as Bowzer on the "Sha Na Na" was scheduled to visit Flint and Lansing Wednesday, Sept. 17, to talk to seniors about the race.
|
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|
/pf/resources/images/mlive/favicon.ico?d=1375
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mlive
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https://www.mlive.com/news/flint/2014/09/sha_na_na_star_bowzer_stumps_f.html
|
BK BOWZER
Bowzer, formerly of the group Sha Na Na, trying to break a glass with his low voice, which he finally did, in Jackson in this 1995 photo.
(File)
FLINT, MI -- A Michigan candidate for the United States Senate is looking for a boost among senior voters from an unlikely place.
Specifically, a 33-year-old music act and its television show.
Jon Bauman, known for his role as Bowzer in "Sha Na Na" was scheduled to visit Flint and Lansing Wednesday, Sept. 17, to talk to seniors about the race.
There was a time when the show was on the air that it's largest market share came from the Flint area.
"I love the music of the '50s and the early '60s, but that does not mean I want to return to a time before Medicare when 35 percent of seniors lived below the poverty line," Bauman said in a statement.
"And I certainly don't want to return to a time before Social Security when more than 50 percent of seniors lived below the poverty line. The choice is clear: Gary Peters has a strong record supporting Michigan seniors but Terri Lynn Land would take us back to a time when a secure retirement wasn't an option for millions of seniors."
"Sha Na Na," was a show hosted by the band of the same name and was on the air from 1977 to 1981. The show featured the group singing 50s and 60s rock and roll songs and performing comedy skits.
Bauman sang bass in the group and wore his trademark outfit on every episode: black converse sneakers, jeans and a black muscle shirt with slicked-back hair. The group ended each show with the Bowzer character saying ""Good night, and grease for peace," and then the group sang "Goodnight, Sweetheart, Goodnight."
|
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https://seventiesmusic.wordpress.com/2019/12/05/at-the-hop-sha-na-na-1970/
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en
|
At the Hop – Sha Na Na – 1970
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2019-12-05T00:00:00
|
First performed (as a cover) by Sha Na Na at Woodstock in 1969, the song later appeared on the 1970 Woodstock album. sha na na fax Sha Na Na began as part of the Columbia University a cappella group, the Kingsmen, but changed their name when a band of the same name gained fame for…
|
en
|
https://secure.gravatar.com/blavatar/92592e01d7f90431fec5014c5b64a745c6e22c64d88bc7f6420d16eaf519d16c?s=32
|
seventies music
|
https://seventiesmusic.wordpress.com/2019/12/05/at-the-hop-sha-na-na-1970/
|
First performed (as a cover) by Sha Na Na at Woodstock in 1969, the song later appeared on the 1970 Woodstock album.
sha na na fax
Sha Na Na began as part of the Columbia University a cappella group, the Kingsmen, but changed their name when a band of the same name gained fame for Louie, Louie.
Performing 50s hit songs, accompanied by dance moves and harmonies, Sha Na Na began performing in 1969 at the height of the hippie counterculture but went on to achieve US-wide fame after opening for Jimi Hendrix at Woodstock Festival. Fame that went on to inspire similar groups throughout North America, as well as Grease, American Graffiti and the television show Happy Days.
The band then hosted the Sha Na Na variety television show from 1977 to 1981 with guests including James Brown, the Ramones, Chuck Berry, Little Richard, Bo Diddley, the Ronettes, and Chubby Checker.
Still performing today, the current line-up includes Donny York and Jocko Marcellino, two of the original 12 members, and long-time member Screamin’ Scott Simon, who joined in 1970.
In their early years, Sha Na Na band played at venues such as Fillmore East and Fillmore West, opening for the Grateful Dead, the Mothers of Invention, and the Kinks. Soon the band began headlining at such venues – one of their opening acts was Bruce Springsteen. In 1972, Sha Na Na was one of just four acts invited by John Lennon and Yoko Ono to perform with them at their One-to-One benefit concert at Madison Square Garden.
at the hop fax
At the Hop was written by Artie Singer, John Medora, and David White and originally released by Danny & the Juniors in late-1957, reaching #1 on the US charts on January 6, 1958. It peaked at #3 on the UK charts.
The song was covered by Sha Na Na at the 1969 Woodstock Festival and featured in the 1973 George Lucas movie American Graffiti.
Notable covers, other than Sha Na Na’s version, include, Elvis Presley and The Beach Boys. It also formed part of Uriah Heap’s song, Rock’n’Roll Medley.
At the Hop lyrics.
at the hop – sha na na – 1970 – video
at the hop sha na na – 1969 – woodstock video
Sometimes the YouTube links dropout – if this link doesn’t work, please go to YouTube and search for the song – it will be worth it!
follow seventiesmusic on facebook.
You’ll find out when the latest blog is posted (usually about once a week).” Click the Facebook logo to go to the seventiesmusic Facebook page and click “Like.”
|
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8788
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dbpedia
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0
| 24
|
https://law.justia.com/cases/federal/district-courts/FSupp/637/591/2342455/
|
en
|
Greene v. Sha-Na-Na, 637 F. Supp. 591 (D. Conn. 1986)
|
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Greene v. Sha-Na-Na, 637 F. Supp. 591 (D. Conn. 1986) case opinion from the US District Court for the District of Connecticut
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https://law.justia.com/cases/federal/district-courts/FSupp/637/591/2342455/
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637 F. Supp. 591 (1986) Frederick Dennis GREENE, Plaintiff,
v.
SHA-NA-NA, a partnership, An Evening With Sha-Na-Na, a partnership, Leonard J. Baker, Scott J. Simon, Donald W. York and John F. Marcellino, Defendants. Civ. A. No. N-84-628 (RCZ).
United States District Court, D. Connecticut.
May 23, 1986.
*592 William R. Murphy, Leonard C. Boyle, Tyler Cooper & Alcorn, New Haven, Conn., Philip R. Hoffman, Pryor, Cashman, Sherman & Flynn, New York City, for plaintiff.
William H. Clendenen, Jr., David M. Lesser, Clendenen & Lesser, New Haven, Conn., Lee Calligaro, Casson, Calligaro & Mutryn, Washington, D.C., for defendants.
RULING ON DEFENDANTS' MOTION TO DISMISS
ZAMPANO, Senior District Judge.
The plaintiff, Frederick Dennis Greene, also known as Denny Greene and formerly a member of the rock and roll band and partnership known as "Sha-Na-Na," instituted this suit for injunctive, monetary, and other relief against four of his former partners in "Sha-Na-Na": Leonard J. Baker, Scott J. Simon, Donald W. York, and John F. Marcellino (collectively referred to as the "individual defendants"). This suit arises from Greene's expulsion from and *593 the dissolution of the "Sha-Na-Na" partnership and another partnership, "An Evening With Sha-Na-Na," by the individual defendants, and their subsequent formation of two new partnerships under the same names. The new partnerships are also defendants in this suit.
Pending is the defendants' motion to dismiss for lack of in personam jurisdiction and improper venue pursuant to Fed.R. Civ.P. 12(b) (2) and (3). Three of the individual defendants are citizens of California and one is a citizen of Massachusetts, while the plaintiff is a citizen of Connecticut. The partnership defendants were formed under the laws of California. The complaint alleges both diversity and federal question subject matter jurisdiction.
In addition to the pleadings, the record before the Court on defendants' motion to dismiss consists of memoranda and supporting affidavits, as well as answers to interrogatories and documents exchanged by the parties after the Court, at oral argument, authorized jurisdictional discovery.
FACTS
The record reveals that in 1969, the plaintiff, along with defendants York and Marcellino and various other individuals, formed a rock and roll band and entered into an oral agreement in New York to form the "Sha-Na-Na" partnership (hereinafter referred to as "the Original Sha-Na-Na"). Defendants Baker and Simon joined the band and partnership in 1970.
Between 1969 and October 1984, the Original Sha-Na-Na, specializing in music of the 1950's, performed at numerous concerts, recorded several albums, appeared in motion pictures and on TV variety shows, and had their own syndicated TV series.
In 1978, after application to the United States Patent and Trademark Office, the service mark "Sha-Na-Na" was registered (No. 1,094,764) in the names of the plaintiff and the individual defendants as joint owners for "musical entertainment services rendered by a group." In 1981, the group entered into an oral agreement whereby a second partnership known as "An Evening With Sha-Na-Na" (hereinafter referred to as "the Original An Evening With Sha-Na-Na") was formed.[1]
The plaintiff contends that at or about the time of a performance at the Woodstock Music and Performing Arts Festival in August 1969, the Original Sha-Na-Na agreed that, in view of its rapidly growing reputation, all of its efforts would be concentrated upon performing only in concert settings in the top rated music halls, arenas, and auditoriums and only for amounts of money commensurate with their reputation.
Fifteen years later, in August 1984, the Original Sha-Na-Na received an offer to perform for one week in August at the Sands Hotel in Las Vegas, Nevada for compensation representing approximately ten percent of the amount the band customarily received for such performances. Despite the lower than usual compensation, the Original Sha-Na-Na agreed to perform at the Sands Hotel as a "showcase" to promote further bookings at amounts commensurate with its usual compensation. However, the plaintiff claims that, at the same time, the Original Sha-Na-Na reaffirmed its agreement of 1969 that, after this "showcase", it would continue to concentrate its efforts on performing only in top-rated settings for money befitting its reputation.
In October 1984, without consulting the plaintiff, the individual defendants entered into another agreement to perform at the Sands Hotel over a two-week period beginning on October 16, 1984, for a small fraction of the Original Sha-Na-Na's usual compensation. At a meeting of the partnerships *594 in Las Vegas on October 11, 1984, the plaintiff informed the individual defendants that the second booking at the Sands Hotel was a violation of the original partnership's agreement and practice over the years to perform only for much higher rates of compensation. The individual defendants responded that they would perform at the Sands Hotel beginning on October 16, 1984, with or without his consent or participation. Moreover, they informed the plaintiff that they had also entered into agreements to perform in New Orleans, Louisiana for two weeks in late December, and in Dallas, Texas for two weeks in January 1985, for less than the band's usual pay, and that they would go forward with these performances with or without his consent.
On October 15, 1984, the individual defendants telephoned the plaintiff in Connecticut and told him that if he did not perform at the Sands Hotel in Las Vegas on October 17, 1984, he would be expelled from the original partnerships. The next day, a telegram confirming the message was sent to the plaintiff in Connecticut. That same day the plaintiff responded with his own telegram, informing the individual defendants that he would not appear at the Sands Hotel engagement, that he was not withdrawing as a partner, and that he would be available for concerts subsequent to the Sands Hotel performance. Nonetheless, by a letter dated October 22, 1984, the individual defendants informed the plaintiff that on October 17, 1984, they had filed a notice of dissolution of the Original Sha-Na-Na and the Original An Evening with Sha-Na-Na partnerships in California and had formed two new partnerships in California under the same names (hereinafter referred to as "the New Sha-Na-Na" and "the New An Evening With Sha-Na-Na"). This lawsuit followed.
In effect the plaintiff contends that, since October 1984, the defendants have been unlawfully using the registered service mark "Sha-Na-Na" and wrongfully holding themselves out as the Original Sha-Na-Na. He seeks injunctive relief and compensatory damages based on breach of contract, wrongful dissolution of the original partnerships, statutory and common law service mark infringement, unfair competition, and misappropriation of property.
Subsequent to the commencement of the instant action, the New York Post, a newspaper sold in Connecticut, featured an advertisement stating that Sha-Na-Na would be appearing at Grossinger's in upstate New York on December 27, 1984. Above the name Sha-Na-Na was a picture of the Original Sha-Na-Na, including the plaintiff. In addition, on January 13, 1985, defendants appeared as the Sha-Na-Na on nationwide television as part of the "Weekend With the Stars Telethon for Cerebral Palsy." The program, which originated in California, was telecast over one Connecticut television station, Channel 30, WVIT, the NBC affiliate in Hartford, and was cable-cast throughout the country and in Connecticut on Superstation WOR.
DISCUSSION
A. Personal Jurisdiction
The plaintiff attempts to sustain his burden of establishing that the defendants are subject to the personal jurisdiction of this Court, Hoffritz for Cutlery, Inc. v. Amajac, Ltd., 763 F.2d 55, 57 (2 Cir.1985), by reference to three provisions of the Connecticut "long-arm" statute governing personal jurisdiction over nonresident individuals and foreign partnerships. Conn.Gen. Stat. § 52-59b.[2] In diversity and federal *595 question lawsuits, before a federal court can properly assert personal jurisdiction over such defendants, it must make two inquiries. First, it must determine whether the state's long-arm statute authorizes the exercise of jurisdiction. See United States v. First National City Bank, 379 U.S. 378, 381, 85 S. Ct. 528, 530, 13 L. Ed. 2d 365 (1965); Arrowsmith v. United Press International, 320 F.2d 219, 223 (2 Cir.1963) (en banc); Bross Utilities Service Corp. v. Aboubshait, 489 F. Supp. 1366, 1370 (D.Conn.), aff'd mem., 646 F.2d 559 (2 Cir. 1980); Lombard Bros. v. General Assessment Management Co., 190 Conn. 245, 250, 460 A.2d 481 (1983). Second, the court must decide whether the statutory authority comports with due process. See, e.g., International Shoe Co. v. Washington, 326 U.S. 310, 316, 66 S. Ct. 154, 158, 90 L. Ed. 95 (1945), and its progeny.
Section 52-59b(a) (1)
Section 52-59b(a) (1) of Connecticut's long-arm statute extends jurisdiction over nonresidents and foreign partnerships if they "transact any business" within Connecticut and if the present cause of action arises from the transaction of such business. Plaintiff argues that his causes of action for service mark infringement and unfair competition arise from the defendants' transaction of business in Connecticut in the form of "solicitation" through the December 21, 1984 ad in the New York Post advertising their appearance at Grossinger's, and through their January 15, 1985 nationwide telethon appearance.[3]
It is well established that jurisdiction is to be determined by examining the conduct of the defendants as of the time of service of the complaint, Connecticut Artcraft Corp. v. Smith, 574 F. Supp. 626, 630 (D.Conn.1983) (citing Lachman v. Bank of Louisiana in New Orleans, 510 F. Supp. 753, 757 (N.D.Ohio 1981)), which in this case occurred on November 29, 1984. As such, the plaintiff's causes of action cannot be said to have arisen from either the December 21, 1984 New York Post ad or the January 15, 1985 telethon appearance, and these activities cannot form the basis of this Court's jurisdiction.
Even if the timing of these occurrences did not defeat the plaintiff's arguments, neither the New York Post ad nor the nationwide telethon broadcast constitutes the type of "single purposeful business transaction" required to satisfy Section *596 52-59b(a) (1). Zartolas v. Nisenfeld, 184 Conn. 471, 474, 440 A.2d 179 (1981).
For example, under analogous facts in Lombard Bros. v. General Asset Management Co., 190 Conn. 245, 255-57, 460 A.2d 481 (1983), the Connecticut Supreme Court declined to find repeated solicitation of business under Connecticut's corporate long-arm statute, Section 33-411(c) (2), where a defendant's general advertisements in this state were limited to two notices in the New York Times and the Wall Street Journal announcing the names of persons joining the firm. As with Lombard, the peripheral newspaper ad in the present case makes it factually distinguishable from a genuine solicitation case such as McFaddin v. National Executive Search, Inc., 354 F. Supp. 1166, 1168-70 (D.Conn.1973).
The Court additionally notes that the individual defendants' October 15, 1984 telephone call, October 16, 1984 telegram, and October 22, 1984 letter, all directed to the plaintiff in Connecticut, are insufficient to constitute the transacting of business in Connecticut. See, e.g., Agrashell, Inc. v. Bernard Sirotta Co., 344 F.2d 583, 587-88 (2 Cir.1965) (construing a nearly identical statute, N.Y.C.P.L.R. 302(a) (1)); Connecticut Artcraft Corp., 574 F. Supp. at 631, and cases cited therein; Bross Utilities Service Corp., 489 F. Supp. at 1371-72, and cases cited therein.
Accordingly, jurisdiction may not be exercised under Section 52-59b(a) (1).
Section 52-59b(a) (2)
The plaintiff next asserts that jurisdiction exists under Section 52-59b(a) (2) because the defendants committed tortious acts within Connecticut out of which this suit arises: specifically, service mark infringement and unfair competition. The plaintiff points to the December 21, 1984 New York Post ad and the January 15, 1985 nationwide telethon appearance, in support of his argument that the defendants have been passing themselves off as the Original Sha-Na-Na in Connecticut.
These post-service occurrences are not sufficient to support the exercise of jurisdiction, see Connecticut Artcraft Corp., 574 F. Supp. at 630, as the present suit cannot be said to have arisen from them.[4]
Even if the New York Post ad and telethon appearance had occurred prior to service of the complaint, it is unlikely that they would constitute tortious acts committed within Connecticut. These occurrences are qualitatively different from the direct "passing-off"[5] in the forum state engaged in by the defendants in Transamerica Corp. v. Transfer Planning, Inc., 419 F. Supp. 1261 (S.D.N.Y.1976) and Metropa Co. v. Choi, 458 F. Supp. 1052 (S.D.N.Y. 1978), two cases relied on by the plaintiff.
In Transamerica Corp., a trademark infringement action, the court found jurisdiction *597 under N.Y.C.P.L.R. 302(a) (2), Section 52-59b(a) (2)'s New York counterpart. There, however, the defendant had not only placed an advertisement in the Wall Street Journal and two European newspapers available in New York, but also had conducted a direct mailing campaign within New York of 100 to 250 brochures containing symbols which allegedly infringed the plaintiff's registered trademark. Similarly, in Metropa, the court found personal jurisdiction under N.Y.C.P.L.R. 302(a) (2) in a trademark infringement and unfair competition action where the defendant had passed off its allegedly infringing product in New York through a direct mail order sale.
Here, however, the defendants performed no wrongful acts in Connecticut in relation to the New York Post ad and the telethon appearance. If the defendants or their agents obtained the booking for the December 1984 appearance at Grossinger's in upstate New York by passing themselves off as the Original Sha-Na-Na, the wrongful acts were performed in New York where it appears that the booking was negotiated and consummated. Moreover, the record reveals that the ad for the appearance at Grossinger's was placed in the New York Post by the promoter of the event, not by defendants or their agents in Connecticut. As such, the ad's connection with Connecticut is too tenuous to support jurisdiction. See Herman Miller, Inc. v. Mr. Rents, Inc., 545 F. Supp. 1241 (W.D. Mich.1982).[6]
Similarly, any wrongful acts performed by defendants or their agents in relation to the charity telethon appearance, by passing themselves off as the Original Sha-Na-Na, were performed in California, the state where the defendants were contacted by a telethon representative and orally agreed to appear and the state from which the program was transmitted.
Jurisdiction, therefore, is not proper under Section 52-59b(a) (2).[7]
Section 52-59b(a) (3)
A more difficult question is presented by the plaintiff's invocation of Conn.Gen.Stat. § 52-59b(a) (3), which confers jurisdiction over defendants who, among other things, commit a tortious act outside of Connecticut which causes injury in the state. As the Court's discussion of the facts indicates, the tortious conduct alleged was committed outside Connecticut. Therefore, the threshold question under Section 52-59b(a) (3) is whether any injury to the plaintiff occurred in Connecticut.
Courts in this District have adopted the "critical events" test to determine the situs of the injury resulting from a commercial tort.[8]See Connecticut Artcraft Corp., 574 F.Supp. at 629-30; Bross Utilities Service Corp., 489 F. Supp. at 1374-75. Moreover, in evaluating the "critical events" for the purposes of jurisdiction, the plaintiff's residence or domicile within a state, in and of itself, is not a sufficient predicate for the exercise of jurisdiction. Rather, the determinative factor is evidence of direct economic injury to the plaintiff within the state. See Connecticut Artcraft Corp., 574 F. Supp. at 629-30, and cases cited therein.
The plaintiff asks this Court to find that his injury occurred in Connecticut because, *598 as a citizen of this state since 1978, it is here that he has felt the effects of the loss of income and purported damage to his reputation[9] occasioned by the defendants' allegedly tortious acts. However, the Court finds that these factors do not satisfy the "critical events" test.
Clearly, the "critical events" associated with the instant dispute such as the dissolution of the Original Sha-Na-Na Partnerships, the formation of the new partnerships using the registered service mark "Sha-Na-Na," and the subsequent performances as the New Sha-Na-Na took place outside Connecticut, notably in California and Nevada. Insofar as the record before this Court shows, the lost income which the plaintiff is suing to recover would have been derived solely from out-of-state performances. There is no evidence in the record that, at the time of service, the defendants had performed or negotiated any contracts in Connecticut or solicited any business here resulting in a loss of income to the plaintiff.
In short, while there is no question that the plaintiff suffered some harm in Connecticut, it is only in the sense that lost business anywhere in the United States indirectly would affect his income in Connecticut because he is domiciled here. As stated by the Second Circuit in reference to N.Y.C.P.L.R. § 302(a) (3), the statute "`is not satisfied by remote or consequential injuries which occur in [the state] only because the plaintiff is domiciled, incorporated or doing business in the state.'" American Eutectic Welding Alloys Sales Co. v. Dytron Alloys Corp. 439 F.2d 428, 433 (2 Cir.1971) (quoting Friedr. Zoellner (New York) Corp. v. Tex Metals Co., 396 F.2d 300, 303 (2 Cir.1968)).
Also instructive is Black v. Oberle Rentals, Inc., 55 Misc.2d 398, 285 N.Y.S.2d 226 (Sup.Ct.1967), one of the first New York cases to interpret N.Y.C.P.L.R. § 302 and a case cited by the Court of Appeals in both American Eutectic and Friedr. Zoellner. In Oberle Rentals, New York domiciled plaintiffs were involved in a collision in Massachusetts. Plaintiffs alleged that the injury to person or property in New York were "permanent visible injuries [and] permanent loss of income." The New York court held that such "injury" did not confer jurisdiction under N.Y.C.P.L.R. 302(a) (3):
Certainly every person injured in an accident has resultant damage as well as the personal injury. He may suffer lost earnings, diminution of earning capacity, long periods of convalescence and all such attendant damages. Conceptually it is difficult for this Court to hold that a personal or property injury in another state by virtue of a tortious act committed in that state can be said to have suffered some injury within the state of New York simply because he is domiciled here. In other words, Section 302(a) (3) CPLR looks to the imparting of the original injury within the State of New York and not resultant damage, in order that jurisdiction might be effectuated. To hold otherwise would be to open a veritable Pandora's Box of litigation subjecting every prospective defendant involved in an accident with a New York domiciliary to defend actions brought against them in the State of New York. This is hardly the minimal contact with the State prerequisite to the exercise of its power over a prospective defendant.
Id. at 400, 285 N.Y.S.2d at 229 (citation omitted). See also Stark Carpet Corp. v. M-Geough Robinson, Inc., 481 F. Supp. 499, 508 (S.D.N.Y.1980) (indicating that the reasoning of Oberle Rentals also applies in cases where the injury is commercial rather than physical).
In light of the above, this Court finds that the loss of income and damage to reputation in Connecticut asserted by the *599 plaintiff are too remote and speculative to support a finding of jurisdiction under Section 52-59b(a) (3).
Constitutional Standards
Even assuming that Connecticut's longarm statute authorized the exercise of in personam jurisdiction in this case, it is doubtful that such jurisdiction would be constitutionally permissible under the "minimum contacts" test of International Shoe Co. v. Washington, 326 U.S. 310, 66 S. Ct. 154, 90 L. Ed. 95 (1945), and its progeny.
At the time of service of the complaint, the individual defendants had no contacts with Connecticut other than that, as members of the Original Sha-Na-Na, their record albums, video cassettes of two movies in which the group appeared, and possibly some T-shirts bearing the group's image, were available at stores in the state. There is no evidence in the record regarding the volume of sales of these items or the revenues derived from any sale of these items during the relevant period. There also is no evidence that the individual defendants or their agents either directly promoted the availability of the Original Sha-Na-Na's records, video cassettes, and T-shirts here, or "purposefully avail[ed] [themselves] of the privilege of conducting activities within the forum State, thus invoking the benefits and protections of its laws." Hanson v. Denckla, 357 U.S. 235, 253, 78 S. Ct. 1228, 1240, 2 L. Ed. 2d 1283 (1958). On the contrary, defendants' interrogatory answers indicate that the Original Sha-Na-Na's record albums, for example, are produced and sold by independent firms which pay a royalty and other forms of compensation to the group.[10] Moreover, the partnership defendants had no contacts whatsoever with Connecticut at the time of service.
Under these circumstances, it is clear that the defendants' conduct and connections with Connecticut at the time of service were not such that they should reasonably have anticipated being haled into court here. World-Wide Volkswagen Corp. v. Woodson, 444 U.S. 286, 297, 100 S. Ct. 559, 567, 62 L. Ed. 2d 490 (1980); see also Burger King Corp. v. Rudzewicz, 471 U.S. 462, 105 S. Ct. 2174, 85 L. Ed. 2d 528 (1985); Helicopteros Nacionales de Colombia, S.A. v. Hall, 466 U.S. 408, 104 S. Ct. 1868, 80 L. Ed. 2d 404 (1984).
B. Venue
Having decided that the exercise of in personam jurisdiction over the defendants is not proper in this case, it is not necessary for the Court to pass on the issue of venue. However, because an analysis of the venue issue also supports the Court's dismissal of this action, the Court will address the issue.
Venue in the instant action is controlled by 28 U.S.C. § 1391(b), because the complaint alleges claims under federal trademark law in addition to state law claims. Section 1391(b) provides that
A civil action wherein jurisdiction is not founded solely on diversity of citizenship may be brought only in the judicial district where all defendants reside, or in which the claim arose, except as otherwise provided by law. (emphasis supplied).
Accordingly, because none of the defendants reside in Connecticut and because all defendants do not reside in any one district, venue is proper only where the claim arose.
*600 The plaintiff cites the December 21, 1984 New York Post ad and the January 13, 1985 nationally televised telethon appearance in support of his position that his claims for service mark infringement and unfair competition arose in Connecticut because the defendants "passed themselves off" as the Original Sha-Na-Na here. See Marvel Products, 296 F. Supp. at 787.[11] However, because both the New York Post ad and the telethon appearance occurred after the filing of the complaint in this action, the plaintiff's reliance on these occurrences to support a finding that venue is proper in this District is misplaced. See, e.g., Louwers v. Knight-Ridder Newspapers, Inc., 570 F. Supp. 1211, 1212 (E.D. Mich.1983) ("Venue is determined as of the date in which the action was filed."); Technograph Printed Circuits, Ltd. v. Packard Bell Electronics Corp., 290 F. Supp. 308, 326 (C.D.Cal.1968) (venue determined as of time of filing of actions); Proler Steel Corp. v. Luria Bros. & Co., 225 F. Supp. 412, 413 (S.D.Tex.1964) (venue determined by facts existing at time action is filed).
Even assuming that these post-filing occurrences could properly be considered on the venue question, they do not satisfy the "weight of the contacts" test, as discussed in Honda Associates, Inc. v. Nozawa Trading, Inc., 374 F. Supp. 886 (S.D.N.Y.1974), for determining venue in infringement actions.
In Honda, Judge Conner found that, where the defendant's contacts with New York consisted of sending some twenty catalogs using the allegedly infringing trademark into the state over a five year period, and receiving three mail orders for allegedly infringing goods with a retail value of $37 over a four year period, plaintiff's claim for trademark infringement could not be said to have arisen in New York. The court stated
It is obvious that the overwhelming "weight of contacts" is in California. That is not to say that in trademark cases the "weight of contacts" rule should be applied so literally as to exclude suit in any district other than the one where the greatest volume of infringing activity occurred, but only that the claim should not be deemed to have arisen in a district in which the defendant has had only miniscule contact, and that entirely by mail.
... the right given by Section 1391(b) to sue in any district "in which the claim arose" is not the right to sue where any part of the claim, however small, arose....
Id. at 892.
As established by numerous later decisions of the same court that decided Honda, Honda stands for the proposition that venue should be denied in infringement cases where no substantial part of the infringing action occurs within the confines of the judicial district in question. See Metropa, 458 F. Supp. at 1055 n. 14, and cases cited therein.[12]
Accordingly, the Court concludes that venue in the instant case does not properly lie in this District. The mere facts that a New York newspaper containing an ad placed by a promoter regarding an upcoming performance by the defendants in New York is sold in Connecticut, and that a telethon appearance in California is telecast in Connecticut, do not, without more, constitute substantial infringing activities in *601 Connecticut. A conclusion otherwise would mean that a substantial part of the plaintiff's claim arose in every state where the New York Post is sold or distributed and in every state where defendants' nationwide television appearance was received.[13] Such reasoning is rejected.
CONCLUSION
Upon a careful review of the record in this case, the Court concludes, for all of the foregoing reasons, that it does not have personal jurisdiction over these defendants, and that venue is not properly placed in this District.
Accordingly, the defendants' motion to dismiss is granted.
SO ORDERED.
NOTES
[1] While the membership of the original partnerships changed at various times over the years following their formation, for purposes of the pending motion it is sufficient to note that in October 1984, the only remaining members of the original partnerships were the plaintiff and the individual defendants. Likewise, while others had participated as joint owners when the Sha-Na-Na service mark was first registered, by October 1984, the plaintiff and the individual defendants were the sole, joint owners of the service mark.
[2] Conn.Gen.Stat. § 52-59b states in relevant part:
(a) As to a cause of action arising from any of the acts enumerated in this section, a court may exercise personal jurisdiction over any nonresident individual, or foreign partnership, ... who in person or through an agent:
(1) Transacts any business within the state; or
(2) commits a tortious act within the state ...; or
(3) commits a tortious act outside the state causing injury to person or property within the state, ... if he
(A) regularly does or solicits business, or engages in any other persistent course of conduct, or derives substantial revenue from goods used or consumed or services rendered, in the state, or
(B) expects or should reasonably expect the act to have consequences in the state and derives substantial revenue from interstate or international commerce....
[3] The plaintiff also points out that, as members of the Original Sha-Na-Na, the individual defendants transacted business in Connecticut between 1969 and October 1984. In this regard, the plaintiff cites the Original Sha-Na-Na's appearances on television programs which were televised nationwide and in Connecticut, but which did not originate in Connecticut; the group's appearances in three motion pictures which were shown in theaters in Connecticut; and the sale of the Original Sha-Na-Na's records and other merchandise in Connecticut.
Additionally, the Original Sha-Na-Na performed twenty times in Connecticut over the fifteen years from 1969 through 1984; the most recent performance being on February 14, 1984. The Original Sha-Na-Na's merchandise, including T-shirts and record albums, was sold at these various performances, and a set of 1980 performances in Wallingford were recorded for a live album.
Finally, according to the plaintiff's interpretation of the economic data produced by the individual defendants for the ten year period from 1974 through 1984, the Original Sha-Na-Na earned $421,765.58 from its activities in Connecticut from 1977 through 1984. The individual defendants take the position that the Original Sha-Na-Na's gross earnings in Connecticut from 1974 through 1984 were insignificant and constituted, on average, only 2.85 percent of the group's total gross earnings.
Clearly, any activities by the Original Sha-Na-Na in Connecticut between 1969 and October 1984 are not relevant to Section 52-59b(a) (1) jurisdiction, since the plaintiff was a member of the group during that period and his present causes of action do not arise from those activities. Cf. Shick v. TSR, Inc., Civil No. H-84-975 (MJB), slip op. at 4-6 (D.Conn. March 7, 1985) (motion to dismiss under Section 33-411(b) of Connecticut's corporate long-arm statute granted in suit for breach of employment agreement because suit did not arise out of the business defendant employer transacted in Connecticut).
[4] Another post-service occurrence cited by the plaintiff, a discussion that International Creative Management, the defendants' agent, may have had with a promoter regarding the possibility of an appearance by the "New Sha-Na-Na" in Wallingford during the summer of 1985, also does not support a finding of jurisdiction because the present suit cannot be said to have arisen from it. The Court notes, parenthetically, that no contract for such a performance was ever consummated, and that there is no evidence as to where the single discussion by International Creative Management may have taken place.
[5] In Marvel Products, Inc. v. Fantastics, Inc., 296 F. Supp. 783 (D.Conn.1968), an unfair competition action, Judge Blumenfeld quoting from the Second Circuit stated that "`the wrong takes place ... where the passing off occurs, i.e., where the deceived customer buys the defendant's product in the belief that he is buying the plaintiff's,'" and concluded that the basis for determining the place of the wrongful conduct comes down to the question: Where were the wrongful acts performed? Id. at 787 (quoting Vanity Fair Mills, Inc. v. T. Eaton Co., 234 F.2d 633, 639 (2 Cir.), cert. denied, 352 U.S. 871, 77 S. Ct. 96, 1 L. Ed. 2d 76 (1956)).
On this basis, Judge Blumenfeld held that the defendant's sale of its product to retailers outside Connecticut did not satisfy Section 33-411(c) (4) of Connecticut's corporate long-arm statute, despite any subsequent resale by such retailers in Connecticut, and that therefore personal jurisdiction did not exist. Like Section 52-59b(a) (2), the corporate long-arm statute extends jurisdiction over a foreign corporation where the cause of action arises out of that corporation's tortious conduct in this state.
[6] Buckley v. New York Post Corp., 373 F.2d 175 (2 Cir.1967), a libel suit where Judge Friendly, noting the volume of the New York Post's distribution in Connecticut, found that jurisdiction over the newspaper was proper, does not support a finding that jurisdiction is also proper over the subjects of an ad that appears in that newspaper and that was placed by a third party.
[7] Even if the newspaper ad and telethon telecast could be said to satisfy Section 52-59b(a) (2), they do not constitute sufficient contacts between the defendants and Connecticut so that maintenance of the suit here would not offend "`traditional notions of fair play and substantial justice.'" Shaffer v. Heitner, 433 U.S. 186, 203, 97 S. Ct. 2569, 2579, 53 L. Ed. 2d 683 (1977) (quoting Milliken v. Meyer, 311 U.S. 457, 463, 61 S. Ct. 339, 343, 85 L. Ed. 278 (1940)).
[8] In adopting the critical events test, this District has drawn upon a substantial body of relevant case law decided under the nearly identical New York statute, N.Y.C.P.L.R. § 302(a), upon which Conn.Gen.Stat. § 52-59b(a) is based. See Gandolfo v. Alford, 31 Conn.Supp. 417, 424, 333 A.2d 65, 69 (Super.Ct.1975).
[9] The highly speculative nature of any damage in Connecticut to the plaintiff's reputation is revealed by the following statements from his affidavit: "As more and more people become aware that, according to defendants, I am no longer a member of Sha-Na-Na, my ability to earn or obtain money will further decrease. In addition, people are always asking me how the group is doing, and then are quite surprised to hear that I am no longer considered a member. My reputation is suffering as a result." Greene Affidavit ¶ 33.
[10] Indeed, the analysis the plaintiff asks this Court to adopt would mean that every artist or group whose record albums line the shelves of stores in Connecticut would be subject to personal jurisdiction in Connecticut, without evidence that even a single album was sold and on causes of action wholly unrelated to such albums. The Court rejects plaintiff's reasoning.
This case is easily distinguished from Keeton v. Hustler Magazine, Inc., 465 U.S. 770, 104 S. Ct. 1473, 79 L. Ed. 2d 790 (1984), where the Supreme Court found that jurisdiction was proper over Hustler Magazine in New Hampshire because the publisher regularly circulated its magazine in that state (10,000 to 15,000 copies sold monthly) and because the suit in question was a libel suit arising from the very contents of the magazine.
[11] Plaintiff does not refute defendants' contentions that while his claims for breach of partnership agreements and wrongful dissolution of partnerships may have arisen either in California or Nevada, it is absolutely clear from the facts alleged that they did not arise in Connecticut. Memorandum in Support of Defendants' Motion to Dismiss at 5.
[12] While plaintiff quotes language from Metropa in an attempt to persuade this Court that Metropa interpreted Honda to require only more than "miniscule contact" by an allegedly infringing defendant with the forum district, Memorandum in Opposition to Defendants' Motion to Dismiss at 30, plaintiff failed to draw this Court's attention to a most important footnote to the quoted language. In footnote 14, the Metropa court clearly adopted the "no substantial part" test. 458 F. Supp. at 1055, n. 14.
[13] In contrast, a substantial part of plaintiff's claims for infringement and unfair competition undoubtedly can be said to have arisen in California, where defendants formed two new partnerships using the registered service mark Sha-Na-Na, and in other states such as Nevada, where the defendants subsequently performed as the Sha-Na-Na.
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Overview of all albums from Sha Na Na.
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(source: wikipedia)
Sha Na Na was an American rock and roll and doo-wop revival group formed in 1969. The group performed a song-and-dance repertoire based on 1950s hit songs that both revived and parodied the music and the New York City street culture of the 1950s. After gaining initial fame for their performance at the Woodstock Music and Art Fair, made possible with help from their friend Jimi Hendrix, the group hosted Sha Na Na, a syndicated variety series... more
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Back to Articles
Std Times
Shawnee #1
Shawnee #2
From Sha Na Na to biblical studies
Leader of group is distinguished scholar today
By David Briggs, Associated Press religion writer
The biblical scholar's hair is receding and his face doesn't reflect the hard life of rock 'n' roll etched into the profiles of many aging rockers.
But a veteran of Woodstock he is. Alan Cooper, a distinguished professor of biblical studies at the Jewish Theological Seminary, was once on the Woodstock stage singing "At the Hop" as a lead singer with Sha Na Na.
Cooper has never told any of his students, yet from Hebrew Union College in Cincinnati, where he used to teach, to the seminary here they all seem to know of his brief career on stage.
In the politically charged '60s, Sha Na Na was one group that reminded people how much fun rock 'n' roll could be. In his classroom, Cooper's past enables him to shed the ivory tower stereotype of a professor who has no life outside the classroom and share his love of the study of the Bible.
"Students are always focusing more on the instructor than the content. ... The teacher is the text who is being studied by the student," Cooper says. "I don't know how you can make the Bible dull."
Cooper was a freshman at Columbia University when Sha Na Na began as a student singing group. They began playing their own folk and pop music, using oldies as filler, but they quickly noticed how audiences reacted enthusiastically to the songs from the '50s.
They found work in a New York club, added some choreography and gold lame suits, and it wasn't long before they struck a popular chord as a counterpoint to the more serious political performers of the '60s.
For a couple of glorious years, Cooper enjoyed the rise to fame. He sings the lead in "At the Hop" in the "Woodstock" movie, and made appearances on "The Tonight Show" and "The Merv Griffin Show."
Then he got out, forgoing the wealth and fame of a hit singing group to go back to school to make the study of the Bible his profession.
"I was a college kid who got sucked up in the Sha Na Na thing, had a wonderful time, then got on with my life," he says.
Cooper received his doctorate from Yale University, then taught at McMaster University in Ontario before joining the faculty of Hebrew Union College in 1986. He came to the Jewish Theological Seminary last year.
Sha Na Na is still performing. Those who stuck with the group, Cooper notes, can afford to be men of leisure. After he left the group, Sha Na Na had its own television show and the group still does some concerts.
Except when it's time to pay the mortgage, Cooper has no regrets about his decision to become a professor.
"The pleasure I take from it is incalculable," he says. "I love the interaction with teachers and students. I love the subject matter of my area of study."
The Bible is different from any other text, Cooper says.
"It's the cornerstone of our culture," he says. "It presents us with the vision of the possibility of a good and just society that in no way has lost its value."
Knowledge of the Bible is constantly changing with new archaeological finds and advances in literary and other forms of critical studies of the text, Cooper says.
However, this does not diminish the experience of the ancient Israelite culture "that heard the voice of God" and expressed their understanding in the text, he says.
Today, the Bible continues to mediate to readers an "authentic experience" with the divine, Cooper says.
"The experience of the divine, to know what God wants for the world, what God wants for me, is important to me," he says.
Photos by The Associated Press
1. Sha Na Na, the goofy group that delighted '60s audiences with '50 tunes, included college student Alan Cooper, in the sunglasses looking skyward 2. Dr. Cooper today is a professor of biblical studies at the Jewish Theological Seminary in New York.
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2024-07-29T22:27:06+00:00
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Sha Na Na is an American Rock & Roll cover band that features singers who also dance on stage. Even for 1969, they were anachronistic focusing on '50s music and outfits. The group was founded in 1968 and didn't have an album contract by the time they played at Woodstock[1][2][3]. Sha Na Na was...
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Woodstock Wiki
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https://woodstock.fandom.com/wiki/Sha_Na_Na
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Sha Na Na at Woodstock
Performed on Day 3 Started at 7.30 am, Monday, 18th Played for 30 min. Further Information
Official link
All Music Guide link
Wikipedia link
Festival Day Chronology Prev. artist Paul Butterfield Blues Band at 6.00 am Next artist Jimi Hendrix at 9.00
Sha Na Na is an American Rock & Roll cover band that features singers who also dance on stage. Even for 1969, they were anachronistic focusing on '50s music and outfits. The group was founded in 1968 and didn't have an album contract by the time they played at Woodstock[1][2][3]. Sha Na Na was the next to last act of Woodstock succeeded by Jimi Hendrix. They performed at 7:30 PM on the morning of Monday, August 18th.
Musicians[]
Joe Witkin - keyboards and vocals
John "Jocko" Marcellino - drums
Donald "Donny" York - vocals
Rob Leonard - vocals
Alan Cooper - vocals
Frederick "Dennis" Greene - vocals
Dave Garrett - vocals
Richard "Richie" Joffe - vocals
Scott Powell - vocals
Henry Gross - guitar
Bruce Clarke III - bass guitar
Elliot Cahn - rhythm guitar and vocals
Setlist[]
Get A Job
Come Go With Me
Silhouettes
Teen Angel
(Marie's The Name) His Latest Flame
Wipe Out
Book of Love
Teenager in Love
Little Darlin'
At The Hop
Duke Of Earl
Get A Job (Reprise)
Details[]
As the movie shows the audience was left amazed with Sha Na Na's music. The people who were still at the festival site were waiting for the final act, Jimi Hendrix. Instead they were treated with some Rock & Roll dancing act. Rob Leonard[4] and David Garrett[5] claimed that they were asked to play the Woodstock Festival based upon Jimi Hendrix's recommendation to the Woodstock producers after Hendrix saw Sha Na Na at Steve Paul's The Scene Club during the summer of 1969.
But Sha Na Na wasn't bad at all. In fact they were quite entertaining playing some old-fashioned Rock & Roll in the vein of Teen Pop and Doo Wop. At times they even break out with a short, fifties-style guitar solo for instance in the song "At the Hop".
Since Woodstock, they've continued to perform and have had many group members over the years. They even had their own TV show from 1977-1981, and appeared in the movie "Grease" as Johnny Casino & The Gamblers.
Availability[]
Only about 15 minutes of recordings - which are already seven songs - are available. Mostly they can be found on film outtakes. "At the Hop", which ends with the "Na Na Theme", is included in the movie and on the box-set. "Teen Angel" is available on the Woodstock 40th Anniversary DVD. "Duke of Earl" is available on Woodstock Diaries.
Audio[]
1994: Woodstock - Three Days of Peace and Music
2009: Woodstock: 40 Years On: Back to Yasgur's Farm
Video[]
1970: Woodstock
1994: Woodstock Diaries
Images[]
The images mostly show the dancers/singers of Sha Na Na. If you have pictures of the other musicians please upload them!
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Woodstock return for Sha Na Na comes 50 years after fabled rock festival
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The power didn't cut out when Sha Na Na performed immediately before Jimi Hendrix at the conclusion of the famously rain-soaked Woodstock festival in August 1969 in Bethel, N.Y. But the Wurlitzer electric piano that this proudly retro-rocking band used at Woodstock half a century ago didn't fare so well on a recent Saturday afternoon […]
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San Diego Union-Tribune
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https://www.sandiegouniontribune.com/entertainment/music/story/2019-06-06/woodstock-return-for-sha-na-na-comes-50-years-after-fabled-rock-festival/
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The power didn't cut out when Sha Na Na performed immediately before Jimi Hendrix at the conclusion of the famously rain-soaked Woodstock festival in August 1969 in Bethel, N.Y.
But the Wurlitzer electric piano that this proudly retro-rocking band used at Woodstock half a century ago didn't fare so well on a recent Saturday afternoon when the current edition of the group performed three numbers in The Museum at Bethel Woods.
The keyboard is now in its 11th year on permanent display at the 10,000 square foot museum, which opened in 2008 and is part of the Bethel Woods Center for the Arts. The center and museum are directly adjacent to the site of the 1969 Woodstock festival.
"After 50 years, the piano had just one more song in it!" said Sha Na Na leader and co-founder John "Jocko" Marcellino, a longtime La Jolla resident.
That song was "At The Hop," a 1958 chestnut first recorded by Danny & The Juniors. Sha Na Na's Saturday mini-concert at the museum concluded with the suddenly keyboard-less group's impromptu a cappella versions of "Come Go With Me" and "Sixteen Candles."
The band, which also features San Diego bassist and guitarist Tim Butler, performed a full concert June 1 at an indoor concert venue housed with the Bethel Woods complex.
By coincidence, "At The Hop" is the only one of the 10 songs Sha Na Na performed at the legendary Woodstock festival that also made the final cut for the Oscar-winning 1970 "Woodstock" film documentary — and the triple-album soundtrack that accompanied the movie's release.
A new documentary, "Woodstock: Three Days That Defined a Generation," opens a one-week run in San Diego today at Landmark's Ken Cinema. On Aug. 2, Rhino Records will release "Woodstock — Back to the Garden — The Definitive 50th Anniversary Archive." Limited to 1,969 individually numbered copies and priced at $799.98, it will contain 38 CDs with 432 musical performances, including Sha Na Na's complete Woodstock set. A 10-CD version will also be released.
A 50th anniversary edition of the festival was announced in December and scheduled for mid-August at Watkins Glen in upstate New York. Yet, while an all-star lineup has been booked, tickets have yet to go sale and the event's fate remains unclear. Not so the new Sha Na Na album, "50th Anniversary," which will be released June 21 and includes a 16-page booklet, titled "“The Band That Was Born at Woodstock — How Ivy League Greasers Made It to the Most Infamous Hippie Festival in History.”
Remarkably, Woodstock was only the seventh or eighth performance anywhere by Sha Na Na, which was co-founded by Marcellino, 10 of his fellow Columbia University students and a guitarist from nearby Brooklyn College. Their goal was to pay spirited tribute to the vintage rock and doo-wop music of the 1950s.
The then-fledgling Sha Na Na got the Woodstock gig after Hendrix heard them play at a New York club. He enthusiastically encouraged the producers to hear and book the band. They did.
“I saw Sha Na Na at Steve Paul’s Scene and they knocked me out, so I invited them to play the festival,” Michael Lang, one of the four co-producers of Woodstock, said in a 2009 Union-Tribune interview.
Sha Na Na was scheduled to perform on the second night of the three-day Woodstock festival, which drew an estimated 400,000 music fans and was billed as "three days of love and music." Despite a dramatic lack of infrastructure and organization, the festival quickly became a landmark event of the fast-budding counterculture movement.
That lack of organization — and a monsoon-like storm that turned the festival site into a massive mud bath — saw Sha Na Na's scheduled Saturday night Woodstock performance get pushed back until after sunrise on Monday morning. The festival's producers wanted to yank Sha Na Na out of the lineup; Hendrix insisted they be allowed to take the stage and the promoters acquiesced.
"We got $350 to play at the festival and the check bounced!" Marcellino, who was 19 at the time, recalled with a hearty laugh.
"And we got paid $1 for agreeing to be in the movie, although I don't know if we ever actually got that dollar. But it was great — Woodstock changed our lives."
Marcellino laughed again as he described the impact of playing at the festival, which paved the way for Coachella, Lollapalooza, KAABOO, England's Glastonbury, Brazil's Rock in Rio and a host of other outdoor music festivals around the world. Playing at Woodstock led to Sha Na Na being signed by Kama Sutra Records, extensive concert tours — "Bruce Springsteen and Hall & Oates opened for us!" Marcellino recalled — being featured in the hit 1978 movie "Grease" and the syndicated "Sha Na Na" TV series, which aired from 1977 to 1981.
"After Woodstock, I had to go back to Columbia University and tell my football coach — who had recruited me — that I had to quit the team," recalled Marcellino, whose Columbia roommate — Sha Na Na keyboardist Joseph Witkin — left the band in 1970 and became a doctor in San Diego.
"I said: 'Coach, we played at Woodstock this summer and I got a two-album record deal'," Marcellino continued. "He said: 'Well, there are windows in life, that — if they open — you have to go through.' So he gave me his blessing."
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Sha Na Na: "We Had To Split The Dollar We Got Paid For Doing Woodstock!"
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2016-05-01T00:00:00
|
Seeing Sha Na Na and their music variety show in 1977 as a seven-year-old, was must see t.v. for me. Their choice of songs, skits and comedy were something that I had no idea existed beforehand. I sat there, week after week with a tape recorder and microphone plugged into the t.v. to tape them […]
|
en
|
That Eric Alper
|
https://www.thatericalper.com/2016/05/01/sha-na-na-we-had-to-split-the-dollar-we-got-paid-for-doing-woodstock/
|
Seeing Sha Na Na and their music variety show in 1977 as a seven-year-old, was must see t.v. for me. Their choice of songs, skits and comedy were something that I had no idea existed beforehand. I sat there, week after week with a tape recorder and microphone plugged into the t.v. to tape them on a cassette player. Watching them two years later in Grease as Johnny Casino and the Gamblers- where they performed six Sha Na Na versions of their rock classics and one original song Sandy which was co-written by Scott Simon- screaming for John Travolta to sing- made me love this band even more. And when I thought about it more, fully recently after I found out that Sha Na Na was appearing nearby, I realized that their music had done for me more than any other bands. Which surprises me, given how much music I have listened to and how many bands I have worked with. Because of Sha Na Na, I launched headlong into a still thriving obsession with rock’n’roll. Especially early rock’n’roll because for the first time in my life I got to see, on their show, artists like James Brown, The Ramones, Chuck Berry, Little Richard, and Bo Diddley, The Ronettes, Chubby Checker…and because of Sha Na Na I become enamored of all things music as a kid. Which lead me watching shows like WKRP in Cincinnati- which lead me wanting to be a DJ- which lead me to a near obsession with the music industry and the people within it. Which kind of mildly affected my decision to take mass communications at university which then informed my decision to work on the other side of the industry as a publicist.
Sha Na Na brings their rock & roll celebration to town in a dynamic, crowd pleasing show that includes highlights of their four decade journey from Woodstock, the movie Grease, The Sha Na Na TV show and their world wide concert touring. In an interactive show where the audience sings along, dances along and participates in a “Greaser Olympics, a good time is had by all ages. Hey all you greasers, teen angels and party dolls: twist, stroll and hand jive to the classics as performed by the crowned princes of doo-wop and rock & roll, Sha Na Na.
Sha Na Na may not have invented rock nostalgia, but the group has successfully – very successfully – celebrated the music and the memories for the past four decades… in concert, in the movies and on TV, and on record. Sha Na Na’s story is an all-encompassing one: they were in the original Woodstock Festival lineup, starred in “Grease”, hosted the “Sha Na Na” TV series for four years, and still play more than 50 concerts a year, from state fairs, performing art centers, casino showrooms to mega corporate functions world wide. And through it all – flower power, hard rock, metal music, disco, hip hop, rap and more – Sha Na Na remains true to the original concept: rock & roll is here to stay.
Jocko, now in his four decade with Sha Na Na, was the first to walk onstage “greased and ready to rock ‘n’ roll” in 1969. That same year, at age 19, he appeared with the group at the Woodstock Festival. Jocko holds the distinction along with fellow group member Donny of performing in both the most successful music documentary ever (Woodstock) and the most successful rock and roll film musical ever (Grease).
Jocko: That fact is all YOUR fault.
Eric: *laughs* It’s all YOUR fault.
Jocko: It’s all OUR fault.
Eric: Do you find that people that are now or are in a position of power at the radio stations or people who work in the media, grew up watching your show?
Jocko: First of all, it’s very obvious you never grew up.
Eric: No *laughs*. No, but neither have you.
Jocko: It’s funny, we have sort of a wide demographic because of what we do. They are all those folks who actually lived the music for the first time and then rediscovered it as “Americana”- instead of calling it “Oldies but Goodies”. They saw our show and enjoyed it but, and we hope we did, we do our best to recreate the songs and not to fix them. People were so interested in this kind of music. But, if we could play in a country sort of place, we could not do hard rock. Not saying we’re heavy metal or anything but you’re right. It was so funny, we had The Ramones come in and they just loved doing variety television show, they were having a ball..
Eric: Let’s start with a pretty obvious question because you’ve been doing this now, coming up on about 47 years – how do you not get stale? How do you still keep it fun for yourself?
Jocko: Well, it’s a very interactive show. You know, as far as a group of songs, I think it’s one of the greatest eras of rock and pop music. You can go back and say the standards; Sinatra, Nat King Cole, Little Richard and Tony Bennett – those songs they were singing. They were just rich in lyrics and music. Then there was this doo-wop and street corner and this ‘Come Go With Me’ and ‘Little Darling’ all those great songs from the golden age of rock’n’roll from ‘55 through ‘62, pre-Beatles. And of course, The Beatles you can give them their own category in terms of great songs. You know, this is just a love for music, it’s shared music. It just doesn’t seem to go away so we celebrate it every night. People say, call them “Oldies but Goodies” – they don’t like that expression. If you were going to go to a Beethoven symphony – you wouldn’t say hey that’s an oldie by Beethoven because it’s old.
Eric: That’s a REAL oldie.
Jocko: Yeah, this is the group of songs we’re doing tonight and, of course, we’re dressed either with leather or, you know, cool bowling shirts. D.As- hair-dos, we grease it up. So it gives you an attitude when you put it on. But I never think I’m going back tonight to do an oldie and I’m going back to the 50s. I’m not going anywhere. This is right now, tonight and everybody are sharing this song. We have the same vocabulary.
Eric: Sha Na Na started as an acapella group at Columbia University in New York around 1969, while you were juggling your schedule around your touring, earning both a B.A. from Columbia and a Masters in Drama from New York University. What did you want to achieve? Did you always want to be in a band? Did you take acting because you knew that you wanted to combine acting and music or did you want to actually become an actor?
Jocko: Well, let me go back. When I was a kid in Boston area, I was in the Boston Children’s Theatre for a season. Then I started having bands when I was like twelve or thirteen-years-old.
Eric: What did you play? Drums?
Jocko: Drums and a bass guitar. We were The Miltones from Milton, Massachusetts. Eventually I was in the Pilgrims from New England with Big Lenny, who I recruited to be in Sha Na Na. I was an All-State football player out of Massachusetts. And Columbia is one of the schools that recruited me, although, I’ve got to tell you late ’60s was not a great time to be playing ball because within a year I had sung at Woodstock and I had to go tell the coach I was moving on and he understood. I said, I got two record deal, I got to play at Woodstock. This was going into my sophomore year. I guess I knew that Columbia was our Broadway so I brought myself to one of the media, of the several cities in the world that show business was in. So I guess I knew all along that I was a good drummer. I had acted all along, in and off the school plays; when I was in the sixth grade I played Scrooge in a Christmas Carol, which is a big part. But first, Sha Na Na became The Kingsmen. Singing tight harmony songs like the School Fight Song and Christmas carols and then they started throwing in the Do-Wop oldies like ‘Come Go With Me.’ So that’s when I knew right away that this had all the elements of the things I was interested in: The drumming, the singing, the acting, the creating a theatrical musical experience. I remember one of the first shows we did on campus. It was completely sold out. It was a night off from the Revolution that was going on outside our doors. There was a lot of protest of the war, especially at Columbia University. They all sort of took a night off to play act and they were as wild as we were because one of my guys’ older brothers put up posters and flyers, “Come As You Were” and they did. I remember I had to negotiate because I was in a play on the stage that night, and I was in both casts. We nailed the drums down so that it wouldn’t topple into the audience and it was hugely successful. We had to go on early because the crowd was so rowdy then we finished, we had 11 songs, that’s all we knew. And they went crazy- so we did them all again. *laughs* I knew that this was something. Right then, I knew this was something.
Eric: What happened next?
Jocko: We had done these things on campus, it was the summer of ‘69. We had done these things on campus so we went down to Yale and we knew we had something. I said, I’m not going to go home so it was the first time I hadn’t gone home for the summer.
Eric: What did your parents think?
Jocko: At first they thought it was wild and later my dad, God rest his soul, he’d sign autographs too. *laughs* We decided to stay in New York, stick it out and see what we could do with this thing. You know, we had a twelve-guy band. What do you do with this now? We did a show at The Boston Tea Party, this was the club where everybody hung out at. After you did your gig, you came to the Steve Paul Scene and hung out. Hendrix jammed there. So we played it for three weeks before it got shut down by a local mafia crew, who wanted protection, and we were there for the last night. But during that week, Hendrix came down three times. Jimi loved it. I’ll tell you how indebted we are to Jimi Hendrix; this whole thing of us getting to Woodstock wouldn’t have happened without Hendrix. He was a sweet, quiet man until he got on stage. Hendrix got the two producers of Woodstock down to see us and that was the very last night it was open. Joplin was there and Zappa was there, Led Zeppelin was there, it was pretty intense for a young rocker.
Eric: Did you see these performers as your peers or as a fan?
Jocko: Hell no! They were the gods! I was the fan.
Eric: Those other musicians all loved Sha Na Na – it was their music.
Jocko: All around, they loved the idea that we were historically looking back at what this was. You see the early pictures of Hendrix with the Isley Brothers and he’s got formidable do and a sharkskin suit on, you know what I mean? This is where they came from, not that long before. So anyway, Ed Goodgoll was our first manager, he was a professor at Columbia, he said “There’s a guy over here talking about Woodstock. Do you want to do it? Do you know what it is?” And I’ve been listening to FM radio. So I said, “yeah, go over and tell him yes”. So, they cut us a deal for $500 and that cheque bounced.
Eric: Did it really?
Jocko: Yeah… and we got a dollar to be in the movie.
Eric: Everybody got a dollar?
Jocko: No, split it up twelve ways. 8 cents each!
Eric: You got the record deal after that. Did the label put any constraints on what you wanted to do or did you know what Sha Na Na was – we’re just going to put it on record.
Jocko: We did an album of some of the original stuff, right away. Half the time we’d do the oldies. The other side were some original songs. Scott Simon, keyboardist, and I had written a lot of songs that are a part of packages. We knew we had a funny thing, a rock in a hard place. We knew that if you played an oldie someone might say that’s not the original. *laughs* If you play the original, that not Sha Na Na. But having ‘At The Hop’ being in Woodstock, it just put us on the map worldwide. And we had a good, energetic set and I think we did pretty well in recreating, and not fixing the songs.
Eric: Where did the idea of the TV show come in?
Jocko: We’re playing nonstop from ‘69 through ‘74, ‘75; were playing to campuses, we’re playing to hippies, we’re playing to punks, we’re playing to everybody!
Eric: How many shows were you doing a year?
Jocko: Oh geez, over a hundred I guess.
Eric: And you’re living essentially on the road?
Jocko: Yeah mostly in and out of New York. But we took classes from Monday afternoon to Thursday mornings and then we used to satellite out to do gigs.
Eric: You were still taking classes… at school?
Jocko: I was still a sophomore when it happened. We always thought, and I’m glad we did it, that we should all get our degrees because there was a changeover right away that the lineup that did Woodstock. Half these guys said listen, I’m going back to pre-med and I’m going back to pre-law and there was some attrition. Then we went out and recruited Johnny, Lenny, Bowzer… And these are the guys who were singers and actors who wanted to be in show business and I was sort of both. It was a good character for me. Some guys had to pretend that they were tough, I was the guy who was tough, you know. It was an amazing time. Then in ‘75– I think it was Colgate-Palmolive or one of the big soap companies who make TV syndicated shows. We were actually one of the first shows offered syndication. Right across American, right off the top. So they came to us and had said they wanted to do a variety show. First, they had pitched it to The Beach Boys and then to Chicago and we were third. And neither of the other groups wanted to do it. But we were a good choice for television because we had the players; I’m not going to say we we’re great dancers but we were capable of movement. Capable of movement. We had a little vocabulary, as we say, in the dance world. We could certainly sing all the harmonies and we had the different flavours of singers- which I think is important. There’s the rockabilly, the rhythm and blues, which is my sort of area, there’s sort of the southern rock, the Jerry Lee kind of stuff and then there’s a little pop Ricky Nelson stuff. There’s a lot of different flavours to this and then we had a character who could sing each flavour. We did 97 half-hours that ran for eighteen years.
Eric: The Sha Na Na TV show will never be on DVD, will it? The cost of licensing the songs is so high.
Jocko: It’s almost too late. People aren’t buying DVD sets, it’s a downloading world. There’s a lot of costs to it and now I just say listen – there must be a 1000 plus YouTube videos, go YouTube it.
Eric: Keep the band alive that way.
Jocko: You know, it’s just all out there. The Sha Na Na name is a household name, and our job and whatever lineup we have is to go there on that given night and entertain with them a set of music we all share. And I think we do that, I think we do it in a very good way. How long I can do it and how to keep it fresh…Until I don’t like doing it, until the phones stop ringing, until I get sick of airports… but that’s with anything, there’s a downside.
Eric: There’re three original members left.
Jocko: Yeah, the good looking guys. We got rid of all those others, guys.
Eric: *laughs* Can Sha Na Na continue forever? Can it go on as a concept with new members all over the world under the Sha Na Na name.
Jocko: Ahh–You’re asking me and I’ve done it for 47 years. I don’t think it would be wise to say no. We worked really hard to get to this point. Other bands, unless they made the charts it was over. No, we were known for our live show. We’re in the biggest in the biggest documentary ever, we ended up in the biggest musical film, ever, and we have our own variety show so we’re in other mediums. We have six songs on the Grease soundtrack and Scott co-wrote ‘Sandy.’
Eric: How does a song like that come about? Does one of the producers ask you or Scott if you have any original songs around?
Jocko: Here’s what happened. Scott quietly did it so that Sha Na Na doesn’t perform it, obviously, John Travolta does. Louis St. Louis and Scott Simon would be sitting in the corner while we were taking breaks at this high school that had an old piano, it was really nice. The producers told them what was going on, that Olivia Newton-John had some great songs that were already in the can. John was light, and he wanted a song. So they wrote Sandy; Scott wrote the lyrics, got it to Louis St. Louis who basically wrote the music, more or less. Then from the writing and then two days later they were recording, then like a day later they were filming at the drive-in. It was really fast and obviously good for Scott. We do it in our show.
Eric: The first time I saw the band live was in ‘77 and it was the night that Elvis Presley passed away.
Jocko: Oh, in Toronto.
Eric: And my parents told me that you did something like five, or six, or seven encores that night. That it was announced, I think, from the stage that Elvis had passed away.
Jocko: Yeah, it was sad. I had never met Elvis. That show, and other concert billings; the monsters of Rock’n’Roll really… Little Richard, Bo Diddley, Chuck Berry and a lot of people in between. Ethel Merman– You know it was very interesting this show live. She had the best cold opening, alright, in the TV show. It’s Ethel Merman in front of a big, maroon lush drape, you know, curtain. And she goes “Cuuuuuurrrtaainn uuuppp”, so they raise the curtain and we’re all standing there like The Pogues, standing there looking cool. And she turns around and looks at us and back to the camera, “Cuuuurrrtaaainsss doowwnn”. It was hysterical.
Eric: *laughs* Who did you think wasn’t going to be good on the show but ended up being amazing?
Jocko: Edgar Bergen. This was the funny thing, it wasn’t on him. He had the dummy and he was doing the voice, the ventriloquist. And I swear to God, we had to do three takes; the sound guy kept on going over to the dummy with the overhead mic. For me, James Brown was coming in and I’m a soul fan, this is my wheelhouse, you know- so they gave us his latest tape, Too Funky. I said I don’t want the background singers, let the band sing the backgrounds of this, it will be more soulful. They all said okay. So the next morning, literally, the audience is in and we’re about to play it back and James Brown is about to sing it. We choreographed it the night before. The Godfather of Soul, mind you, he hears it for the first time and we’re all sitting there on the end of the stage. He’s shaking his head, very quiet and finally it ends and he goes, “who’s the drummer?” And I was like wow, uh oh.
Eric: Are you thinking, oh this is bad.
Jocko: Yeah, it could be. So I said, “I am Mr. Brown.” He goes, “Brotha” and he puts out his hand… He wanted five. So a little dab from the Godfather of Soul. So for a drummer, that was the ultimate compliment.
Here’s an addendum to this interview I just did with Jocko from Sha Na Na and if you think he ran out of stories, you’re very wrong. As he’s leaving at the end of an hour talk, he’s walking out the door he says, “I forgot to tell you about the Hollywood Bowl… because Dave Grohl married my niece.” And that’s the last words before he walked out of the hotel room getting ready for the show. “I forgot to tell you about Hollywood Bowl because Dave Grohl married my niece.” That would of been a whole other hour with Jocko from Sha Na Na!
Love live rock and roll.
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https://www.foxnews.com/entertainment/sha-na-na-jocko-marcellino-woodstock-jimi-hendrix
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en
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Sha Na Na’s Jocko Marcellino recalls opening for Jimi Hendrix at Woodstock: ‘We bathed in the pond’
|
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2019-08-20T05:00:13-04:00
|
It was 50 years ago when Sha Na Na opened for Jimi Hendrix at a music festival called Woodstock during the summer of 1969 — you might have heard of it.
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en
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//static.foxnews.com/static/orion/styles/img/fox-news/favicons/favicon.ico
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Fox News
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https://www.foxnews.com/entertainment/sha-na-na-jocko-marcellino-woodstock-jimi-hendrix
|
It was 50 years ago when Sha Na Na opened for Jimi Hendrix at a music festival called Woodstock during the summer of 1969 — you might have heard of it.
Since then, the '50s-style band, which originated as a 12-piece a cappella group at New York City’s Columbia University, has released 18 albums and sold more than 20 million of them. In addition, they also starred in 97 episodes of their own worldwide syndicated television show, with guests ranging from James Brown to Paul Anka, to name a few. If that weren’t enough, Sha Na Na had six songs on the Grammy-nominated “Grease” soundtrack. Sha Na Na continues to hit the road and already has two shows coming up before the year is over.
THE ZOMBIES SINGER TELLS ALL
Sha Na Na co-founder and drummer Jocko Marcellino spoke to Fox News about opening for Jimi Hendrix, his encounter with the Godfather of Soul and what has kept the group going.
Fox News: How did Sha Na Na end up opening for Jimi Hendrix?
Jocko Marcellino: We went to a club in Hell's Kitchen and they had us two straight weeks. During that time Hendrix started showing up to see the show. It was a hangout for a lot of rock musicians; for Hendrix, Janis Joplin, Led Zeppelin and Frank Zappa. So for me, a 19-year-old student, this was unbelievable — meeting and seeing these rock stars enjoying what we were doing.
Jimi Hendrix got the promoters of Woodstock down to see us. And that night they gave us an offer to do the show, of course, the festival.
They paid us $350 and the check bounced, but we got to Woodstock. And after a long weekend, I was out there for two nights, three days... Hendrix's deal was to close the show, no matter what. And the stage was sinking, because after the rain on Sunday, it was just a mud pit. And there was a about a third of the crowd left.
But [the promoters] came to Jimi and said, "We want you to close now." And he said, "No, there are some acts that have been here all weekend and deserve to get on." And so, he and his management really saved our slot, which was unbelievable. We did our 35 minutes, just before Jimi Hendrix. So, you're hearing this doo-wop and then Hendrix is playing "The Star-Spangled Banner." It was pretty extraordinary.
JUDAS PRIEST SINGER TALKS SURVIVING CONTROVERSY
Fox News: What was your initial impression of Jimi Hendrix?
Marcellino: We loved Jimi... We did shows at different festivals, following Woodstock. I'm not going to say I knew him very well, but he was always very nice to us.
He was just quiet. He was quiet and thoughtful. And then, it's like Dr. Jekyll and Mr. Hyde when he got on that stage. Man, he killed it. I was a senior in high school when I first saw him in Massachusetts and it was one of the greatest concerts I've ever seen. And now here I am, a little more than a year later, meeting Jimi. And then eventually doing Woodstock right before him.
Fox News: What was that experience life performing at Woodstock?
Marcellino: We were very tired. I think I stayed outdoors one night, but otherwise, I slept in the van and we bathed in the pond. And we were a little bit hyper because we needed the energy to get through it.
There was just a rough scene out there. People were, a lot of the diehards, stayed to see Hendrix close, so when we come on they were trying to figure out, "What is this?" And they took a few songs and then they really got in the groove with what we were doing.
PAMELA DES BARRES RECALLS HER GROUPIE DAYS
Fox News: How did you respond to Hendrix’s passing?
Marcellino: He was 27. It was scary. There were several major deaths at age 27. I was very saddened. I remember walking on the street and saw the front page of a newspaper. He had passed. It was horrible.
Fox News: Who were some of your biggest influences?
Marcellino: I’m a big R&B fan and I just love Little Richard. Also James Brown, who did our show. We cut a track for him, and we were playing it for the first time. He was about to sing against it in front of an audience. But very quietly, he brought us over and asked, "Who's the drummer?" And I said, "I am."
He turned his hand up and he wanted five. He said, "Brother," and shot me five. So, for a young drummer who is a huge fan of James Brown, it was the ultimate compliment.
GLENN MILLER'S DOOMED PLANE FOUND?
Fox News: What has kept the band going for decades now?
Marcellino: Well, we've discovered that rock 'n' roll is here to stay. It's fun to do, traveling. Being in airports is a pain in the neck, but to do the shows, it's a lot of fun. And I think we live up to the expectation of what we're going to do and that the show will be fun. You're going to have a good time and that happens every night. It’s meaningful music, to five generations of people.
[The music is called] Americana, but they are oldies. And I never even like the term oldies because I don't go back. I might put on the leather jacket and do my hair, but we're on a stage tonight. And we're doing these songs. It's like if you went to a classical concert you wouldn't say, "There's an oldie by Brahms." No, these are the selection of songs we're doing tonight.
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https://www.amazon.com/20-Greatests-Hits-Sha-Na/dp/B000H2U0J2
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Amazon.com
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Enter the characters you see below
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https://www.change.org/p/rock-and-roll-hall-of-fame-allow-sha-na-na-to-hotdog-into-the-rock-roll-hall-of-fame
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en
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Petition · Allow Sha Na Na to hotdog into the Rock & Roll Hall of Fame
|
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[
"Shannon Callahan"
] |
2018-06-12T00:13:54+00:00
|
Put simply: Dip Didda Dip Dow! What more CAN be said to prove how necessary it is to induct Sha Na Na into the Rock and Roll Hall of Fame? Oh, Golly... maybe a song they wrote CALLED Rock and Roll hall of fame? https://www.youtube.com/watch?v=BiO9gt0mLcY(A quick glance down to the comment section will demonstrate that band members have been proud patrons of the fine establishment they so deserve
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de
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Change.org
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https://www.change.org/p/rock-and-roll-hall-of-fame-allow-sha-na-na-to-hotdog-into-the-rock-roll-hall-of-fame
|
Put simply: Dip Didda Dip Dow! What more CAN be said to prove how necessary it is to induct Sha Na Na into the Rock and Roll Hall of Fame? Oh, Golly... maybe a song they wrote CALLED Rock and Roll hall of fame? https://www.youtube.com/watch?v=BiO9gt0mLcY
(A quick glance down to the comment section will demonstrate that band members have been proud patrons of the fine establishment they so deserve to join)
Sure, you might think of this music as a 'little something for daddy' these days, but that's because these guys have been killing themselves at this rock game for going on 50 years! Are you looking for some other poems and observations, humorous and otherwise, to prove these cool cats mettle? How about you tune into American Film Institute cataloged film, Grease, and tell me you toe isn't a tappin'! (specifically during the Hand Jive). These guys have basically been trainers to the stars of rock, and have been seeking the stars of recognition!
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https://www.syracuse.com/celebrity-news/2016/02/lennie_baker_dead_sha_na_na_singer_blue_moon.html
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Sha Na Na singer Lennie Baker, voice of doo-wop hit 'Blue Moon,' dies at 69
|
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[
"The Associated Press",
"www.facebook.com"
] |
2016-02-26T23:59:32+00:00
|
Another former Sha Na Na member, Dennis Greene, died in September.
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en
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/pf/resources/images/syracuse/favicon.ico?d=1375
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syracuse
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https://www.syracuse.com/celebrity-news/2016/02/lennie_baker_dead_sha_na_na_singer_blue_moon.html
|
Celebrity deaths in 2016
Sha Na Na singer Lennie Baker, the voice of doo-wop hit "Blue Moon," died Feb. 24, 2016 at age 69.
(Video still)
BOSTON (AP) -- A longtime member of Sha Na Na who sang lead on the rock and doo-wop group's hit, "Blue Moon," has died. Lennie Baker was 69.
Baker's nephew, David Baker, confirmed the musician's death Wednesday at South Shore Hospital in Weymouth, Massachusetts, where he had been briefly hospitalized after developing an infection.
Lennie Baker spent 30 years touring with Sha Na Na as a vocalist and saxophone player. He sang lead on "Blue Moon," which he performed at Carnegie Hall and around the world, and often said it was his favorite tune.
Baker left the group in 2000 and was living on Martha's Vineyard at the time of his death.
Funeral arrangements were incomplete Friday.
Another former Sha Na Na member, Dennis Greene, died in September.
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https://www.tiktok.com/%40chuckberry/video/7052471386778127663%3Flang%3Den
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Make Your Day
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https://medium.com/spotlight-central/sha-na-na-live-at-the-newton-theatre-38c9649cba80
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en
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Sha Na Na LIVE! at the Newton Theatre
|
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2018-10-30T12:40:33.282000+00:00
|
The audience is streaming into the Newton Theatre auditorium in Newton, NJ this Friday, Oct. 19, 2018 for a live concert starring Sha Na Na! Sha Na Na started out in the late 1960s as a rock and roll…
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en
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https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
|
Medium
|
https://medium.com/spotlight-central/sha-na-na-live-at-the-newton-theatre-38c9649cba80
|
By Spotlight Central. Photos by Love Imagery
The audience is streaming into the Newton Theatre auditorium in Newton, NJ this Friday, Oct. 19, 2018 for a live concert starring Sha Na Na!
Sha Na Na started out in the late 1960s as a rock and roll group while the members were all students at Columbia University. Originally billed as The Kingsmen, they changed their name after another band with the same name scored a hit with “Louie, Louie.” As a ’50s tribute group, they took their new name from the nonsense syllables in The Silhouettes’ 1957 smash, “Get a Job.”
In 1969, they performed live at Woodstock, and their appearance in the documentary film on the event started a nostalgia craze for ’50s music that inspired the Broadway musical Grease, the film American Graffiti, and the TV show, Happy Days.
On tour, Sha Na Na opened for such groups as The Grateful Dead, The Mothers of Invention, and The Kinks. Once they reached headliner status, others opened for them, including an up-and-coming singer from New Jersey — Bruce Springsteen. In 1972, former Beatle John Lennon invited Sha Na Na to perform at a benefit concert held at NYC’s Madison Square Garden.
From 1977–1981, the band starred in the syndicated Sha Na Na TV variety show which featured music, skits, and guests including Chuck Berry, Little Richard, Bo Diddley, The Ronettes, Chubby Checker, and more.
In 1978, the members of Sha Na Na appeared in the film version of Grease as a ’50s band called Johnny Casino and the Gamblers. Several of the group’s tracks appeared on the film’s soundtrack album including two songs from the original Broadway show — “Those Magic Changes” and “Born to Hand Jive.”
Still rockin’ today, the group tours with original member Donny York on lead vocals.
Original member Jocko Marcellino also handles lead vocals.
Keyboardist/vocalist Screamin’ Scott Simon joined Marcello and York just following the group’s 1969 appearance at Woodstock, and is still touring with them nearly 50 years later.
Rounding out Sha Na Na these days is bassist Tim Butler, guitarist Randy Hill, drummer Ty Cox, and sax player Michael Brown.
Before the show begins, we take a moment to catch up with several Sha Na Na fans here in the Newton Theatre auditorium.
First, we chat with Tara from Morris Plains who reveals, “I’ve been a fan of the group for over 30 years,” citing the Sha Na Na TV show as one of her favorites.
A frequent visitor at the Newton Theatre, Tara tells us that she not only attended a Beatles’ tribute show here last week, but she’s especially looking forward to Ted Vigil’s upcoming John Denver tribute show at “The Newt” because, as she explains, “Wherever you sit, it’s a good seat!”
We also chat with Mel from Andover, who has been fan of Sha Na Na since the 1970s. Revealing he saw the group in person back in those early years, Mel declares, “I love the music of the ’60s and ’70s, and to watch this group perform it live on stage is a great experience,” explaining, “It’s not just singing — it’s an entire show!”
Mel’s wife, Ann, is also a fan of Sha Na Na — not only for their music, but for their comedy, recalling, “I loved their skits on TV — every song was not only fun to listen to, but fun to watch!”
Ann is also a fan of the entertainment programming here at the Newton Theatre revealing that she and Mel, too, plan to attend Ted Vigil’s “John Denver Christmas” show here on Dec. 8.
Dave from Vernon recalls that, as a kid, he watched the Sha Na Na television show, acknowledging, “Tonight is my first time seeing them in person, before adding, “I hope they perform a wide variety of music.”
Dave’s wife, Karen, concurs, before noting, “I just love all the songs they do!”
The lights dim and the excitement starts to build as the current members of Sha Na Na — Donny York and Jocko Marcellino on vocals, Scott Simon on vocals and keyboards, Tim Butler on bass, Randy Hill on guitar, Ty Cox on drums, and Michael Brown on sax — take the stage.
The group opens the show with a lively rendition of the song they performed in the film, Woodstock — Danny and the Juniors’ “At the Hop.” Featuring strong harmonies and a fun Scott Simon keyboard solo, the group displays an incredible amount of energy in their fifth decade as a band!
Several audience members can be seen twisting along with Sha Na Na on the group’s rendition of Joey Dee and The Starliters’ “The Peppermint Twist.” After a rockin’ Randy Hill guitar solo, the audience sings along with lead vocalist Donny York on the song’s famous “Hey, hey, hey, hey” interlude.
Performing a number they did in the film, Grease, Sha Na Na gets the crowd involved on “Born to Hand Jive,” where they invite audience members up onto the stage to hand jive with the band. The audience responds with huge applause, and gets even more involved as the group invites everyone to get on their feet and “shake it all about” on the “Hokey Pokey.”
Keyboardist Scott Simon is featured on The Drifters’ “Save the Last Dance for Me,” when he chooses a lovely lady in the crowd and brings her onto the stage to dance while comically maneuvering his back side to the audience and shaking his groove thing on the song’s catchy “Save the last dance for me” chorus.
Following inspired Jocko Marcellino vocals on Johnny Maestro and The Crests’ “Sixteen Candles,” the audience claps along and shouts out the lyrics on the group’s rendition of The Champs’ “Tequila” — a number which features saxophonist Michael Brown. As the audience claps along, the band segues into Bill Doggett’s bluesy “Honky Tonk” which features a duel between Randy Hill on guitar and Michael Brown on sax.
After announcing,“This year is our 50th year as a band,” Jocko Marcinello explains that after their appearance in Woodstock, “we went to Hollywood to shoot 97 half-hour episodes of the Sha Na Na television show and followed that up with an appearance in the movie, Grease.”
Adding, “Here’s some stuff from Grease,” the group performs an up-tempo rendition of Elvis Presley’s “Hound Dog,” and they follow that up with a slow but, then, rapidly accelerating doo-wop rendition of The Marcels’ “Blue Moon.”
Bassist Tim Butler handles the lead vocal on The Riviera’s “California Sun” — as audience members dance — before everyone rocks out to a cool Michael Brown sax solo.
Comedy reigns on Brian Hyland’s “Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini” as Screamin’ Scott Simon takes the stage sporting sunglasses and a towel and removes it to reveal that he is, indeed, wearing a yellow and black polka dot bikini!
A highlight of the show is Sha Na Na’s instrumental rendition of The Surfari’s “Wipe Out” — featuring dueling guitars and lead singer Jocko Marcellino taking a drum solo — which segues into a twangy ’60s guitar version of “Walk Don’t Run” by The Ventures.
The audience enjoys a touching rendition of The Righteous Brothers’ “(You’re My) Soul and Inspiration” before Act I concludes with a dynamic version of Ray Charles “What’d I Say” featuring strong Scott Simon keyboard playing, four-part vocal harmonies, and audience members joyously singing and dancing along to the happy Sha Na Na sound.
Following a short intermission, Act II opens with Sha Na Na’s version of The Del-Vikings’ “Come Go with Me.” Starting out as an a cappella arrangement, as soon as the instrumentalists kick in, a couple can be seen dancing in the front of the auditorium while Michael Brown rocks out on the sax. And Brown continues to impress on The Clovers’ “Love Potion #9” when he holds a single note for what seems like minutes on end!
The crowd cheers before Donny York says, “Our best audiences are always in New Jersey, so sing along on our next tune!” Here, the audience happily joins in on Dion and The Belmonts’ “Teenager in Love,” the entire crowd crooning, “Why must I be a teenager in love?
Organ and saxophone shine on a dynamic version of The Dovells’ “You Can’t Sit Down,” which the audience loves and demonstrates it by cheering excitedly!
Donny York handles the lead vocal on The Cascades’ “Rhythm of the Rain” as he and several of his bandmates twirl umbrellas on stage. When a streetlamp and garbage can appear on one side of the stage, he sings under a streetlamp as the group croons their version of The Five Satins’ “In the Still of the Night.”
After announcing, “Sha Na Na started as a glee club at Columbia University and we took our name from the opening words of this song,” the boys perform a lively rendition of The Silhouettes’ “Get a Job.”
Following cheers and applause, Scott Simon jokes, “We couldn’t sing this next song in Grease, so we had to get some guy from New Jersey to sing it — John Travolta.” After acknowledging, “Since he can’t be here to sing it tonight, we were able to get the guy who actually wrote the words,” Simon sings the lyrics — which he himself penned — to the well-known number from Grease, “Sandy.”
Then, the guys really rev things up with a smokin’ rendition of Sam the Sham and The Pharaohs’ “Wooly Bully!” with the crowd happily singing and dancing along.
Concluding the evening with a trio of classic oldies tunes including Little Richard’s “Lucille,” Jerry Lee Lewis’ “Whole Lotta Shakin’ Goin’ On,” and Bill Haley and The Comets’ “See You Later, Alligator,” the group ends their show with Sha Na Na’s unique take on The Spaniels’ “Goodnight, Sweetheart, Goodnight.”
As audience members make their way out of the auditorium, we chat with several concertgoers who share their opinions regarding tonight’s show with us.
Jerry from Byram tells us that he attended performances here at the Newton Theatre “in the 1940s, when there were movies and vaudeville shows which played here.” Recalling, “I believe the theater originally opened its doors in 1923,” Jerry reveals that one extremely fond memory for him involves walking into this very theater “holding my grandfather’s hand.”
Spending the entire show dancing in the last row of the orchestra with his wife, Mary Ann, Jerry says, “These days, when we come to this venue, we always ask for seats in the last row of the orchestra or in the very last row of the auditorium,” explaining, “that way, we’ll have room to dance without getting in anyone’s way!”
Acknowledging that despite their age, the couple is “extremely young at heart,” Jerry says that Sha Na Na’s songs remind him and Mary Ann of “the best times of our lives.”
“We’ve been dancing together for 51 years!” exclaims Mary Ann.
Also dancing with the pair tonight is their friend, Lillian, who says, “When I heard Sha Na Na was coming to Newton, I immediately told Mary Ann, ‘I’m coming!’”
Revealing that her favorite song was Sha Na Na’s rendition of “What’d I Say,” Lillian comments that the concert tonight was “absolutely fantastic!”
Whereas Jerry’s favorite tune was “Blue Moon” and Mary Ann especially enjoyed “Wipe Out,” all three music lovers say they truly enjoyed Sha Na Na’s complete performance tonight.
Concludes Mary Ann, “Are you kidding? If you don’t like Sha Na Na’s music, get a life and leave!”
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https://levittownnow.com/2018/09/13/sha-na-na-member-bowzer-endorses-scott-wallace-at-social-security-support-event/
|
en
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Sha Na Na Member Bowzer Endorses Scott Wallace At Social Security Support Event
|
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2018-09-13T00:00:00
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One of America's most iconic greasers made a stop in Bucks County to endorse Scott Wallace.
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LevittownNow.com
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https://levittownnow.com/2018/09/13/sha-na-na-member-bowzer-endorses-scott-wallace-at-social-security-support-event/
|
One of America’s most iconic greasers made a stop in Bucks County to endorse Scott Wallace.
Jon “Bowzer” Bauman, the president of political action committee Social Security Works and a former member of Sha Na Na, performed for a group of about 80 people at the Warminster VFW post Wednesday afternoon.
The 70-year-old native New Yorker told the crowd about his support for Social Security and Medicare, something that Democrat Wallace has pledged not to cut. He said the candidate’s stance drew him to Bucks County for the campaign stop.
Bauman eased into the event by telling the audience about his upbringing in New York City and that he was classically-trained at the Juilliard School. He wowed the crowd by playing Frédéric Chopin on his keyboard before launching into a campaign-altered classic from the Sha Na Na TV show.
The performer noted the comedy that with all his classical training, he is most notable for his role in fifties- and sixties-leaning rock and doo wop group Sha Na Na. He still performs at Hershey Park every summer and plays shows around the country.
“God bless America!” he said.
Bauman said that Republicans are a threat to Social Security and Republican Congressman Brian Fitzpatrick is among those who want to cut it.
“It’s a hell of a program,” Wallace told the crowd, affirming his support for it.
The candidate said he is running in honor of his grandfather, who helped create Social Security while in government decades ago, and for his grandkids.
“Brian Fitzpatrick is preparing to dismantle Social Security,” he warned.
Wallace and Bauman both chided Fitzpatrick’s support of the Republican-backed tax reform bill last year. Wallace, a multi-millionaire, said the tax reform has helped his finances but he isn’t the person who needs the help, noting he is pouring much of his own money into his campaign.
Wallace asked the mostly-older crowd to get out to the polls to protect Social Security and Medicare, urging supporters to drive their friends and neighbors to vote.
Middletown resident Roberta Laney attended the event in support of Wallace. She said she collects Social Security and wants it be kept intact. She said her support for Wallace will have her knocking on doors and driving others to the polls come November.
Fitzpatrick’s campaign hit back at Wallace and said his “campaign is based on a lie.”
“Brian has never in the past, nor will he ever in the future, cut any type of Social Security benefits. Brian has never in the past, nor will he ever in the future, vote to privatize social security. Brian’s parents, both of whom are in their mid-80s and live in the same Levittown home where they raised their eight children, literally survive on their Social Security benefits,” campaign spokesperson Genevieve Malandra said.
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https://www.wikiwand.com/en/Sha_Na_Na_(TV_series)
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Sha Na Na (TV series)
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Sha Na Na is a syndicated television variety series that ran from 1977 to 1981 for a total of 97 episodes, hosted by the popular rock & roll/comedy group of the same name. The show was produced by Pierre Cossette and originally distributed by the Lexington Broadcast Services Company. Each episode ran for 22 minutes. Reruns continued to air in syndication through the 1982-1983 television season, after which the series left most markets.
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Wikiwand
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https://www.wikiwand.com/en/Sha_Na_Na_(TV_series)
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Sha Na Na is a syndicated television variety series that ran from 1977 to 1981 for a total of 97 episodes,[1] hosted by the popular rock & roll/comedy group of the same name. The show was produced by Pierre Cossette and originally distributed by the Lexington Broadcast Services Company. Each episode ran for 22 minutes. Reruns continued to air in syndication through the 1982-1983 television season, after which the series left most markets.
The show featured the group performing hits from the 1950s and 1960s along with comedy skits along the show's nostalgic theme but with a contemporary twist, with performances from that era's well-known acts as well as popular acts of the 1970s.[citation needed] Among the supporting cast members featured in the series were: Jane Dulo, Pamela Myers, Avery Schreiber, Kenneth Mars and Phil Roth (Season 1); June Gable and Soupy Sales (Seasons 2 to 4); Michael Sklar (Season 2); and Karen Hartman (Season 4).
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https://music.apple.com/us/artist/sha-na-na/7063692
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âSha Na Na
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Listen to music by Sha Na Na on Apple Music. Find top songs and albums by Sha Na Na including Born to Hand Jive, Those Magic Changes and more.
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https://www.georgeleonard.com/sha-na-na-and-the-woodstock-generation.htm
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Sha Na Na and the Woodstock Generation
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By George Leonard '67 and Robert Leonard '70
(from COLUMBIA COLLEGE TODAY, Spring/Summer 1989, p. 28)
Editor's note: In 1969 the Columbia Kingsmen, a student singing group, insouciantly traded their jackets, ties and rah-rah spirit for an image with more flash. As Sha Na Na, outfitted in gold lame and Elvis Presley hairdos, they perfected a song and dance repertoire of classic Fifties rock'n'roll. Soon after their memorable "Grease Under the Stars" concert on Low Plaza they shot to stardom, playing at Woodstock, the Fillmores West and East, and many venues in between. Their success inspired the Broadway musical Grease, followed by the movie Grease (in which they appeared); the group eventually had its own television series. Two founders of Sha Na Na offer these reminiscences of the early days. [See George Leonard's accompanying article "How to Dance like Sha Na Na".]
Columbia students in the 1960's grew up knowing that Columbia was a major force in popular culture: Ginsberg and Kerouac had led the Beats; Rodgers, Hart and Hammerstein were giants for the modern Broadway musical; Art Garfunkel (with his friend Paul Simon, an NYU student) pioneered American "folk rock." No miracle that Columbia--and only Columbia!-- was represented at the Woodstock Festival, in the movie Woodstock, and later, held the record for encores (four: the Kinks had to wait in the wings for an hour) at Fillmore West till it closed.
Sha Na Na was, in fact, the Columbia Kingsmen. Even after Woodstock, during its fame as a Fillmore headliner, when members dropped out we recruited new ones from Columbia--like Screaming Scott Simon or Jon "Bowzer" Bauman, the group's second leader, now a TV star and producer.
This year, 1989, is the twentieth anniversary of Woodstock and we found ourselves wanting to write not so much a history of Sha Na Na as something that would recapture that spring-- as Columbia recovered from the Revolution and was about to move into the Woodstock Generation. Events came thick and fast in the Sixties and Columbia was at the center of it all.
Spring, 1969, ended not with another Revolution but with two rock'n'roll extravaganzas, "The Glory That Was Grease" in Wollman, and The First East Coast Grease Festival;--the apocalyptic "Grease Under the Stars" concert on Low Plaza.
Before the Columbia Kingsmen went into rock'n'roll, there were no oldies radio stations and no "theater rock:" white rock groups still stood on stage like the Beatles and sang their album, though a lead singer might cavort like Jagger.
Above all, there were no "Fifties." The Fifties were unregretted, still accurately remembered for the Bomb-fearing, Commie-hunting, money grubbing era they were: the Eighties without the glamor. The Beats dropped out, Jules Feiffer got "sick, sick, sick."
In 1969, most of Columbia had been through a year of the riots, fist fights, and broken friendships of the Revolution. Alumni will remember the morning sounds of glass being chipped from last night's broken windows onto the sidewalk, the tinkling mixing with the drone of a bullhorn echoing off Low Library's steps.
George Leonard's daily dining room handouts and twice-weekly Spectator ads revised the Fifties into a pre-political teenage Eden: "Jocks! Freaks! ROTC! SDS! Let there be a truce! Bury the hatchet (not in each other)! Remember when we were all little greaseballs together watching the eighth-grade girls for pick-ups?" The Kingsmen were very excited when, after "The Glory That was Grease" in Wollman, freaks from SDS went to Beta House and (stoned nearly blind, of course) danced with their recent enemies for hours. The idea most Americans under forty now have of the 1950's is a Columbia fiction: a mythical world before politics that Columbia University, exhausted by the revolution, needed, that spring, to believe in.
Sha Na Na grew out of the unique midnight bull-session atmosphere of the Columbia dorms. When George was a junior on the Fifth Floor Jay, Ed Goodgold and his pals used to play a game in the hall that Ed (with Dan Carlinsky) soon boosted into a national institution: "Trivia." George, meanwhile, banded floor members into an underground film company: basketball great Jim McMillian played the heavy. Then, for Ed's and Dan's fist All-Ivy Trivia Contest, the Kingsmen prepared "Little Darlin'." They wore blazers and stood in a semicircle; but when Rob Leonard did the spoken solo, the audience reaction was so intense that George (already studying choreography) had his vision of a group that would sing only Fifties rock and perform dances like the Busby Berkely films Susan Sontag had taught George to love.
By great luck, George and Rob found in the Kingsmen Elliot Cahn and Al Cooper, who could rewrite simple doo-wop harmonies into operatic compositions for twelve voices; Dave Garrett, a mountainous figure with a pure tenor; natural comic talents like Rich Joffe (graduated summa cum laude!), Jocko Marcellino, and Donny York; keyboardist Joe Witkin, guitarist Bruce Clarke, vocalist Scott Powell; and even a trained dancer, Frederick "Denny" Greene. George's masterpiece, "Duke of Earl" --too difficult ever to be performed in public; the group did it privately for their own satisfaction--ended with Denny doing a Double Pirouette And Mike Snatch inside a halo of flying arms.
The Class of '69's climactic rock orgy came about when the frats' representative offered George $100 to play Spring Carnival--$100 for the whole group. He countered that if they'd pay $100 per man, he'd repackage the carnival as the First East Coast Grease Festival and advertise it up and down the coast. The frats agreed. George wrote an ad for the Grease Festival and put it in Fusion, Rolling Stones's competitor: "Come greased!"
At this point someone in the administration became terrified. These were Columbia College students--at the time, the most feared gang of desperados in the country. Twelve months before, during a warm spring, they had marched across the evening news for six weeks, inspiring student protests across the country with echoes as far away as France. It was spring again, and if they were allowed to mass, no one knew if they'd end the night trying to take City Hall.
Someone in administration canceled the concert--even the frats backed out. George, Rob and Denny Green went to Dean Carl Hovde with the Fusion ad: Thousands of rockers were about to descend on Columbia and if they didn't find a concert, there would be hell to pay. Dean Hovde showed the talent which had gotten Columbia through 1969. He not only accepted reality, he volunteered to pay the Kingmen's wages and threw open the concert to the public--free. The concert became the dean's gift to the students.
The Grease Festival turned out to be the first taste of Woodstock, three months later. Five thousand spaced-out, peaceful freaks from Harvard to Virginia made a bobbing sea of heads beneath the Kingsmen, who preformed on the steps next to Alma Mater. It was a grand ending for the Class of '69, soon to be called The Woodstock Generation.
Our first agent wanted to call us "The Put-Ons" so George changed our name to Sha Na Na--just for the weekend, he promised, he'd think of something better next week. We hit so fast he became scared to. Within two months we were the hottest rock act in New York, held over week after week at Steve Paul's Scene, where the stars themselves partied. One night Janis Joplin ran backstage to kiss us, reeking of Southern Comfort; another night Rob was being helped off the Scene's floor after collapsing in the finale of "Teen Angel," and Bruce Clarke, Ellie Cahn, and Henry Gross were blasting into "Wipe Out," when Rob looked up and saw Jimi Hendrix not ten feet away, jumping up and down on a chair clapping and waving his arms, looking like he was going to take off and fly. Later he told us we were "Right ON!"
Some of us figured Jimi got us invited to Woodstock, and as it turned out, we played right before him, when he closed the show with his immortal acid-rock "Star Spangled Banner." A week after his visit Rob had come off a set and found a speechless, glassy-eyed freak in our dressing room. Rob grabbed his belt and shoulders, starting throwing him out--Ed Goodgold, who did our bookings, actually tacked Rob! Ed righted the little guy, gingerly brushed him off. The freak grinned, face cherubic, and mumbled, "You guys have got to be in Woodstock." "What's a Woodstock?" Rob asked. He had almost ejected Michael Lang, the festival's major producer. And Lang wouldn't have been back: that night the mob closed the Scene, possibly for nonpayment of dues, battling the Filipino sap-man and black-belt bouncers, throwing tear gas, and routing rock stars, freaked-out Lang, Henry Gross's 80 year-old grandmother, and our parents.
So five months after George had told us in Rob's apartment that he was going to teach us to dance and make us stars, a bunch of Columbia guys who had merely signed up for a King's Crown Activity were staring dumbfounded out the open door of a troop transport helicopter as it flew over miles of hippies, abandoned cars, smashed fences, campfires and wandering day-glo-colored armies looking for water and food and dope.
Everyone was long hair, love beads and tie-dye; they stood around the mikes and sang. When we burst onto stage greased, in gold lame, doing George's Busby-Berkeley-Goes-Apollo dances, a quarter of a million freaks probably thought they'd taken the wrong acid. We did well enough, though, to make the Oscar-winning movie--if you had to pick ten films that will be watched, indeed studied, one hundred years from now, there's one.
Woodstock is American cultural history, and only Columbia had its delegation there, for very good reasons. Columbia works in weird ways: the tradition of leadership in popular culture, the catalyst of the dorms, the superheated New York City atmosphere. All these are inseparable parts of the Columbia education. George sometimes sends money to his old dorm room, addressed "Occupant." He's waiting to see what comes out of the dorms next.
George Leonard, who supplied the conception and choreography for Sha Na Na, received his Ph.D. from Columbia in 1972, and has taught English at Yale and the University of California at Irvine. His novels, Beyond Control and The Ice Cathedral, have been widely praised. He is Professor of Interdisciplinary Humanities at San Francisco State University.
Robert Leonard, Sha Na Na's first president, is Professor of Linguistics at Hofstra University. He has been administrative vice president and professor of linguistics at Friends World College in Huntington, N.Y.; he formerly directed the school's East African Center in Kenya. He received his Ph.D. from Columbia in 1982, where he also taught Swahili.
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Sha Na NaSha Na Na , performers of amusing and lively recreations of the music, dress, and choreography of 1950s rock and roll. Membership: John “Bowzer” Bauman, voc. (b. Queens, N.Y., Sept. 14, 1947); Henry Gross, gtr. (b. Brooklyn, N.Y., April 1, 1951); Donald York, kybd., voc; Lennie Baker, sax. (b. Whitman, Mass., April 18, 1946); Johnny “Jocko” Marcellino, drm. The above are original members. Keyboardist-vocalist “Screamin’” Scott Simon joined in 1969. Source for information on Sha Na Na: Baker’s Biographical Dictionary of Musicians dictionary.
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Sha Na Na , performers of amusing and lively recreations of the music, dress, and choreography of 1950s rock and roll. Membership: John “Bowzer” Bauman, voc. (b. Queens, N.Y., Sept. 14, 1947); Henry Gross, gtr. (b. Brooklyn, N.Y., April 1, 1951); Donald York, kybd., voc; Lennie Baker, sax. (b. Whitman, Mass., April 18, 1946); Johnny “Jocko” Marcellino, drm. The above are original members. Keyboardist-vocalist “Screamin’” Scott Simon joined in 1969. Guitarist-vocalist Dave “Chico” Ryan joined in early 1970s. Group mainstays since the mid–1980s: York, Baker, Marcellino, Simon, and Ryan.
Sha Na Na were launched into international prominence through their appearance at 1969’s Woodstock Festival and the subsequent film. Featured at Ralph Nader’s first rock-and-roll revival show several months later, Sha Na Na frequently upstaged the original 1950s acts in concert during the early 1970s. From 1977 to 1981 Sha Na Na appeared on their own syndicated television show that further expanded their audience.
Formed out of Columbia Univ. glee club the Columbus Kingsmen in 1969, the group was initially comprised of John “Bowzer” Bauman, Johnny Contrado, Donald York, Frederick “Denny” Greene, Lennie Baker, Chris “Vinnie Taylor” Donald, Elliot Cahn, Bruce Clarke, Henry Gross, and Johnny “Jocko” Marcellino. Sha Na Na performed only their seventh engagement on Sunday morning, Aug. 17, 1969, at the Woodstock Festival, preceding Jimi Hendrix. Henry Gross soon left to pursue a solo career that peaked with 1976’s smash hit “Shannon,” and keyboardist-vocalist “Screamin’” Scott Simon joined shortly after the Woodstock appearance. Signed to Kama Sutra Records, the group recorded a number of albums for the label through 1976, scoring their biggest success with 1973’s The Golden Age of Rock ‘n’ Roll. Re-creating the sight and sound of 1950s rock and roll, complete with split-second group choreography, gold lamé costumes, oily ducktail haircuts, and feigned “greaser” hostility, Sha Na Na became a fixture on the rock-and-roll revival circuit of the 1970s. Bassistvocalist Dave “Chico” Ryan joined the group around 1974.
Retaining a remarkably stable lineup during the 1970s, Sha Na Na had their own syndicated television show that ran from 1977 to 1981. They also appeared in the 1978 movie musical Grease, starring John Travolta and Olivia Newton-John. By the mid-1980s John “Bowzer” Bauman, Frederick “Denny” Greene, and Johnny Contrado had left the group, which continued with Donald York, “Screamin’” Scott Simon, Lennie Baker, Dave “Chico” Ryan, and Johnny “Jocko” Marcellino as mainstays. More a musical revue than a rock band, Sha Na Na continue to play around 150 engagements a year at fairs, clubs, and private parties well into the 1990s.
Dlscography
sha na na : Rock ‘n’ Roll Is Here to Stay (1969); S. N. N. (1971); The Night Is Still Young (1972); The Golden Age of Roc ‘n’ Roll (1973); From the Streets of New York (1973); Hot Sox (1974); Sha Na Now (1975); The Best(1976); S. N. N. Is Here to Stay (1978); Remember Then (1981); Sh-Boom (1981); 34th and Vine (1990); Havin’ an Oldies Party (1991); 25th Anniversary Collection (1993). henry gross : Henry Gross (1972); Henry Gross (1974); Plug Me into Something (1975); Release (1976). “screamin’” scott simon : Transmissions from Space (1982).
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Dangerous Minds is a compendium of the new and strange-new ideas, new art forms, new approaches to social issues and new finds from the outer reaches of pop culture. Our editorial policy, such that it is, reflects the interests, whimsies and peculiarities of the individual writers. We are your favorite distraction.
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The Kings of New York, Sha Na Na
Those of you that are of (ahem) a certain age will certainly remember faux-50’s band Sha Na Na not only for their music but also for their syndicated television show that ran from 1977 to 1981. I was absolutely obsessed with that show, and adored the band’s goofy antics and faithful fashion homages to the 1950s from the top of their greased back hair, to the seams on the famous gold lamé pants worn by Frederick “Dennis” Greene, Johnny “Kid” Contardo, and Scott “Tony Santini” on the show—one of the most popular in TV syndication at the time.
In addition to appearances in the film 1978 Grease (where the band was depicted as a fictional 1950s band called Johnny Casino and the Gamblers), Sha Na Na was also featured on the films wildly popular soundtrack, and the tearjerker “Sandy” (sung by John Travolta) was co-written by Sha Na Na’s Screamin’ Scott Simon, who got his start with the band playing piano back in 1970, and still performs with them to this day. In this footage (which I’m pretty sure is gonna blow your mind), the band performs nineteen songs for the enthusiastic studio audience in attendance for a taping of German music television show Musikladen in 1973.
From the minute they hit the stage, it’s clear that we are all in for some high-octane doo-wop, class-act choreography, and the visual treat that is the gangly, rock-and-roll Frankenstein known as “Bowzer” (Jon Bauman)—he’s probably the most recognizable member of the group, too. Since departing Sha Na Na, Bauman continues to tour as his alter-ego “Bowzer” with his group The Stingrays and was also instrumental in helping the passage of the Truth in Music Act—a law that protects musicians and bands from identity theft. Now that’s fucking rock and roll.
The gold lamé suits worn by Sha Na Na that drove my young libido into overdrive back in the late 70s
And what about those skin-tight gold lamé suits (pictured above)? While conducting my very important “research” for this post, I discovered that all three of them are currently up for sale (along with the matching gold lamé boots and belts, thank you very much) for the tidy sum of $2,500. A small price to pay for a piece of rock and roll history that I’d do almost anything to squeeze myself into (those boys were tight back in the day, to say the least). I’ve probably watched this footage at least five times since stumbling on it and every time I do, it gets better. As one commenter on the Youtube page said, “this deserves a million likes.” To which I say AMEN, brother. If you dig it as much as I do, you can get your very own DVD of the show, here. Enjoy!
Sha Na Na on German music television show, Musikladen in 1973.
Previously on Dangerous Minds:
Sha Na Na feud with the Ramones
Do you remember Rock ‘n’ Roll radio? Do you remember shitty ‘70s variety show TV?
Do you remember when goofball nostalgia act Sha Na Na invited the Ramones to a “Greaser’s Feud”?
Formed in 1969, Sha Na Na managed to secure an inexplicable spot at Woodstock that very same year—preceding Jimi Hendrix, no less. It was only their eighth gig. Their brief appearance in the film version of that festival catapulted them to retro-greaser stardom, and according to their website, they’re still an active group.
In the late seventies Sha Na Na also inexplicably managed to land a TV deal. Their show ran from 1977 to 1982 and consisted mainly of silly sketch comedy and musical numbers featuring guest stars. And if the Internet’s memory is correct, the Ramones stopped by to participate in the Sha-Na-Nanigans on May 9th, 1979. The skit they appear in is a parody of the game show Family Feud called “Greasers Feud” hosted by Sha Na Na member Jon “Bowzer” Bauman. Oddly enough, Bauman would later go on to host game shows in real life, including The Hollywood Squares.
The Ramones all have awkward speaking parts in this little skit, but moments later, they launch into a rousing version of “Rock ‘n’ Roll High School”—which to my ears, sounds like a different recording than the album version even though it is clearly canned miming.
Of course, one of the best things about this video is seeing members of Sha Na Na dressed as women and dancing in the street to punk rock.
Naturally, no one could have guessed that a group formed in 1969 would outlive all four founding members of the Ramones, but if that’s what it means to win “Greasers Feud,” then Sha Na Na definitely has a leg up on the competition. However, in a strange coincidence I just discovered completely by accident that Sha Na Na founding member Dennis Greene died just days ago.
So, if Marky Ramone can manage to stay alive for a few more years, he may very well prove to be the last greaser standing.
Just when you think you’ve heard it all, right about at the point when it seems that the United States could not get any more odd, a story like the one I’m about to relate rears it’s head from the annals of the Internet reminding you about how completely insane this entire thing we all call the “American Experience” can be and has always been. This, readers, is the story of Edward Elmer Solly, a convicted fugitive child killer who, after escaping from jail in 1974 and hiding in plain sight, went on to make a living for himself by impersonating and claiming to be deceased Sha Na Na guitar player, Vinnie Taylor.
As many of you already know, Sha Na Na formed in 1968 as an intentionally retro act imitating doo-wop groups from the 1950’s, slicking back their hair and dressing like what could have been Elvis’ personal, gold lame donning entourage. Famously, they played Woodstock, had a syndicated T.V. show that ran from 1977 to 1981 and appeared in the movie Grease in 1978. Vinnie Taylor (born Chris Donald) was not in the group at the time of the Woodstock performance, joining the band as lead guitarist in 1971. Sadly, Taylor died of an accidental heroin overdose in 1974, so he wasn’t part of the group during the Grease period, either, but he left an indelible mark on the band of anachronistic performers.
The real Vinnie Taylor, 1973
Fast forward to May of 2001 when a guy by the name of Edward Elmer Solly gets arrested while, according to a New York Times report on the incident, “fishing for snook from a pier in St. Petersburg, Florida.” But Solly wasn’t being arrested for fishing without a license. His capture was in fact the result of years of searching. You see, in 1969, Solly was convicted for killing the 2-year-old son of his then-girlfriend, Linda Welsh, in Runnemede, New Jersey in what was allegedly a drunken rampage. He was sent to jail, but escaped in June of 1974 while, according to the New York Times article, “on furlough to visit a dying sister.”
Sha Na Na circa 1972
Amazingly, somewhere in the mean time between his 1974 escape and his 2001 capture, Solly made the seemingly insane choice for a wanted man of turning himself into somewhat of a public figure by impersonating Vinnie Taylor in a variety of doo-wop acts in Florida. Solly told people that he had changed his stage name to “Danny C” from Vinnie Taylor, who Solly claimed had faked his death in 1974 for personal reasons.
In a 2004 CBS News article about Solly, Rebecca Leung reported that:
In Florida, doo-wop bands have always been a hit in bars and clubs along the beach. That’s where Tommy Mara’s group, The Saints, and Joe Locicero’s group, The Mello Kings, became two of Florida’s top local groups.
Both men remember being thrilled that living legend and former Sha Na Na singer Vinny Taylor had moved to town.
“You know, he had the talk,” says Mara. “He talked the talk and he walked the walk.”
The former bad boy of Sha Na Na said he had a new stage name: Danny C. And he even had his own Web site, where fans could log on and see all the rock ‘n’ roll legends he performed with over his career.
Locicero and Mara couldn’t believe their luck when Danny C asked their groups to back him up on stage.
“We featured Tommy and The Saints, and then we featured Danny C from Sha Na Na,” says Mara. “Sold it out.”
People from Sha Na Na eventually got wind of Solly’s act (he had a website for crying out loud, and a minivan with the web address printed prominently on the side) and, not knowing that he was on the run from the law, long-time Sha Na Na member, Peter Erlendson even sent Solly a cease-and-desist email asking him to stop performing as Taylor. According to a 2001 article on Philly.com, Solly actually responded to the email and even tried to convince Erlendson that he was in fact Vinnie Taylor and that Taylor had faked his death. According to the article, Erlendson said “I can assure you Vinnie is dead. He was a friend.” Sha Na Na threatened a lawsuit, but allegedly didn’t follow through because they didn’t want to give Solly any more undue attention.
More of this strangeness after the jump…
READ ON▸
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1969-2022 Sha Na Na
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The Sha-Na-Na story starts in 1969 when a group of students at Columbia University, New York, formed an acapella group called the Kingsmen. They were originally attired in turtleneck and blue blazers and performed a variety of songs, but the success of the acapella versions of 50s rock songs as part of the performances proved so popular that the rock’n’roll segment eventually took over, instruments were added and Sha Na Na was born. The name came from the refrain of the Silhouettes’ 1958 hit ‘Get a Job’.
They began playing their own folk and pop music, using oldies as filler, but they quickly noticed how audiences reacted enthusiastically to the songs from the ’50s.
Historically, the group had just two gigs a year: The Yule log lighting ceremony at Barnard College, and the mental ward at St. Luke’s Hospital.
“You were singing to older people and also to young guys who were classmates sitting in bathrobes who had a bad trip,” Greene recalls. “I will never forget having this bizarre experience having an a cappella group singing ‘Going Out of My Head’ … in a mental ward.”
Breaking out of their traditional mold, they greased back their hair, rolled up the sleeves on their T-shirts, and put on an oldies show at the campus cafeteria. People liked it so much they added costumes and instruments and called it “The Glory That Was Grease.”
The only one in the group with any formal dance training, Greene did a lot of the choreography, devising moves that could be done by guys who couldn’t dance.
“The jocks and the pukes were both coming with their hair greased back and rolled-up T-shirts, hugging and singing along to ‘Run Around Sue.”‘ Greene says. “We realized that wherever there was this kind of brotherhood, there had to be money.”
Joe Witkin, who played piano and went on to become an emergency room physician in San Diego, had the only car in the group. Alan Cooper, who sang bass and went on to teach the Bible at the Jewish Theological Seminary in New York City, joined him and they drove around Manhattan with a map of all the nightclubs. At the last one on their list, Steve Paul’s Scene, they got an audition.
“Before we could get through the first song, the guy said, ‘OK, you can start tonight. You get $50,”‘ Greene says. “We had 12 guys being paid $50.”
But the group had stepped into the perfect place at the perfect time. The club drew an extraordinary mix of promoters and stars, including Jimi Hendrix.
Their gig there lasted just two weeks, but during that time they got a record deal and bookings at Fillmore East and Woodstock.
After the movie “Woodstock” hit theaters, with Sha Na Na on screen for 52 seconds doing “Let’s Go to the Hop,” things started to change. They got booked on “The Tonight Show,” “Merv Griffin” and “David Frost.”
Instead of college girls in poodle skirts pretending to scream and swoon over them, girls were grabbing for their legs on-stage for real.
For most people at Woodstock, the big worries were rain, mud and a shortage of food. But not for John “Jocko” Marcellino. The Sha Na Na drummer and co-founder spent most of the famous 1969 rock festival wondering whether his fifties revival band would ever get to perform.
“We were supposed to go onstage on Saturday (the second day), but the schedule went out the window early,” Marcellino recalled in a telephone interview. “By Sunday we weren’t sure we would even get on.”
They finally did – just after daybreak on Monday, as the next to last act before guitarist Jimi Hendrix closed the festival. Their rave-up version of “At the Hop” turned out to be one of the highlights of the 1970 documentary film “Woodstock.”
Sha Na Na was an unlikely act amid a counterculture extravaganza that featured the likes of Janis Joplin, Santana, Jefferson Airplane and The Who, but Marcellino didn’t care. He says the appearance launched the band’s 40-year career.
“We wouldn’t have made it outside the New York area if we hadn’t played Woodstock,” he said. “We got a record deal from it. We had success in other mediums. A lot of things we did were connected to Woodstock.”
The group got there by the happenstance of a nightclub gig.
Marcellino and others had formed Sha Na Na in New York City in the spring of 1969. Marcellino, now one of only two original members still with the group, was a freshman at Columbia University then. He’d grown up in Quincy and Milton, Mass., played in a couple of local bands, and graduated from Archbishop Williams High School in Braintree, Mass.
Sha Na Na had only played six small shows before Woodstock, but they were in the right place at the right time that summer – closing night at The Scene, [IW Steve Paul’s] popular rock club in the Hell’s Kitchen area of Manhattan.
Woodstock producers Michael Lang and Artie Kornfeld were in the audience. After Sha Na Na’s set, the duo approached the band’s manager about Woodstock, and they were booked on the spot for $350.
[2020 YTcomm “Sha na Na had been the house band at Steve Paul’s Scene where Jimi discovered them, played with them, and had them invited to Woodstock to open for him.”]
2020 YTcomm *trustmeimblack1620 It was 50 years ago today – Monday, August 18, 1969. Sha Na Na were originally scheduled to play on Sunday, August 17th, and nearly didn’t get to play at all, until Jimi Hendrix intervened. He closed the festival, and said he wouldn’t set foot on the stage until they finished their set.
A few weeks later, Marcellino and his 11 bandmates made their way to a Holiday Inn near Bethel, N.Y., where other groups and singers also stayed. On Saturday, the second day of the festival, they took their U-Haul van and followed Sly and the Family Stone’s equipment truck to the backstage area.
“Then we were on our own,” Marcellino said.
Like thousands of others there, they slept on the ground or in their van, wandered back and forth to hear the headliners, and took swims in a nearby pond. By Sunday, “we started to get concerned that we weren’t going to get to rock,” Marcellino said.
Early Monday morning, after a sunrise performance by the Paul Butterfield Blues Band, they got the word they were on. They hurried out for a 30-minute set for a dwindling crowd in a trash-strewn, muddy field.
“It looked like a refugee camp,” Marcellino recalls.
Marcellino broke down his drum kit while Hendrix played. The band was back in New York later that day.
Sha Na Na has toured ever since, with multiple changes of personnel. The group had a network TV show from 1977 to 1981 and was featured in the 1978 movie “Grease.”
As it turned out, the band wound up earning nothing from Woodstock. Their check bounced. They got $1 for their subsequent appearance in the “Woodstock” film – 8 cents each for the 12-man ensemble. But no one complained. Compared to the worldwide exposure they got, “it was the greatest 8 cents we ever made,” Marcellino said.
The group’s appearance – only the eighth in Sha Na Na’s career, followed by the Woodstock album and movie, cemented their reputation and style. “We went on second to last, at sunrise on the final day, but, importantly, just before Jimi Hendrix,” recalls co-founder, drummer Jocko Marcellino. “We did 40 minutes and were paid $350…and the check bounced!” Sha Na Na was the only group at Woodstock without a record deal. Immediately afterwards, , they had one on the Kama Sutra label.
2023YTcomm *prschuster I was too much of a hippie to appreciate them in 69. Now I’m a fan.
2020 YTcomm *sabirelamhusseinschmidt9753 When I was a teen in the 90’s (and a quasi hippie) and saw this performance I thought it was cringe-worthy and out of touch with the times. 20 years later, rockabilly is my scene and I love this. I wish there was a bigger rockabilly scene where I lived in the 90’s. It was really underground then.
2021YT comm *johnf120 If an artist in 2021 came onstage and played “2011 music” it wouldn’t even seem that different. Just goes to show how much culture changed during the 60s
r their performance at Woodstock, made possible with the help of their friend Jimi Hendrix,
Sha-Na-Na 1969 at Woodstock, playing before Jimi Hendrix.
Sha-Na-Na finally got a regular spot on television with a syndicated series that ran from 1977 to 1981 with over 97 22-minute shows.
No executive chose the band members (2023 YTcomm @jamesfetherston1190 The lineup on TV was not created by an executive. It was their current lineup at the time, all the members were in the group for years before they got the show gig, about half of them were original.)
The members of Sha Na Na during the TV series were Jon ‘Bowzer’ Bauman (vocals), Lennie Baker (sax), Johnny Contardo (vocals), Frederick ‘Dennis’ Greene (vocals), Danny “Dirty Dan” McBride (guitar) (left after third season), Jocko Marcellino (drums), Dave “Chico” Ryan (bass), ‘Screamin’ Scott Simon (piano), Scott ‘Santini’ Powell (vocals), Donald ‘Donny’ York (vocals). Each was introduced only by his nickname or his first name in a voice-over by Myers at the beginning of each show.
A supporting cast of comedians in which Pamela Myers (luscious girl), Jane Dulo (sarcastic old woman in the window),
Bass player Dave “Chico” Ryan, among the television show lineup, died in 1998; while remaining in Sha Na Na, he joined Bill Haley & His Comets for the group’s fall 1979 tour of Europe (Haley’s last major tour before his death).
www.metv.com/lists/9-greased-back-facts-about-sha-na-na
appearance as Johnny Casino and the Gamblers in Grease
Rocky Sharpe and the Replays (Razors originally) 1976
They became Rocky Sharpe and the Razors in 1978
Darts 1976 ‘Daddy Cool’ 1977 UK #6, ‘The Boy from New York City’ 1978 UK #2 (covered by the US Manhattan Transfer in 1981), ‘Duke of Earl’ 1979 UK #6
(Den Hegarty left in late 1978 to look after his ill father, featuring in three series of Jack Good’s final television show, Let’s Rock.
Flying Pickets 1982 ‘only you’
Original 1969 member, Donny York, reminisces on the beginning of Sha-na-na.
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https://www.prnewswire.com/news-releases/former-lead-singer-of-rock-band-sha-na-na-johnny-contardo----known-for-those-magic-changes-in-both-the-grease-movie-and-soundtrack----available-to-speak-about-grease-45th-anniversary-in-perspective-301813308.html
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en
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Former Lead Singer of Rock Band "Sha Na Na," Johnny Contardo -- Known For "Those Magic Changes," in Both the "Grease" Movie and Soundtrack -- Available to Speak About "Grease" 45th Anniversary in Pers
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[
"Johnny Contardo"
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2023-05-02T10:07:00-04:00
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/PRNewswire/ -- As fans of the movie, "Grease," anticipate viewing the film in theaters around the country starting May 14, Johnny Contardo – who sang, "Those...
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https://www.prnewswire.com/news-releases/former-lead-singer-of-rock-band-sha-na-na-johnny-contardo----known-for-those-magic-changes-in-both-the-grease-movie-and-soundtrack----available-to-speak-about-grease-45th-anniversary-in-perspective-301813308.html
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NEW ORLEANS, May 2, 2023 /PRNewswire/ -- As fans of the movie, "Grease," anticipate viewing the film in theaters around the country starting May 14, Johnny Contardo – who sang, "Those Magic Changes," with former band Sha Na Na in Rydell High School's gym back in 1978 – fondly recalls being on set, and examines the magical changes brought forth by the film both then and now.
One of the film's memorable scenes is a dance contest held in the gym, filled with intense dance moves, romance, and aspirations of local fame. All the while, Sha Na Na as "Johnny Casino and The Gamblers" played on, with six songs appearing on the "Grease" Soundtrack, which ranked #1 on Billboard in 1978, and earned a Platinum record, plus a Grammy nomination for Album of the Year.
In real life, the band was in the middle of a concert tour and only had three days to play and sing songs for the film that would last a lifetime on the film's soundtrack.
"The set gave an instant throwback to a different, simpler era; however, the excitement was palpable. The atmosphere had all the electricity of any real high school dance," says Contardo. "It was an honor to represent early Rock 'n Roll in the midst of all that in the 1970s. I still try to do that with the concerts that I'm involved with today."
At 71, Contardo counts himself lucky to have the opportunity to perform for both private functions and in "best of the best" concerts which feature original singers from the 50s and 60s.
He began singing professionally as a teenager in Boston, and then landed the lead role of "Claude" in Boston's first production of "Hair" at age 19. Contardo sang his way into Sha Na Na with his now world-famous tenor voice, touring globally for 13 years (1971-1983). They enjoyed a #1 syndicated eponymous variety TV show with live performances, comedic acting, and dancing.
"Just as there was magic in the air during that dance in a simpler era, it reminds you to strive for a healthy and simple life, so you can notice and appreciate the magic in all of life's inevitable changes."
An avid gardener, Italian and Cajun cook, and decades-long tennis player, Contardo exercises his vocal abilities daily and bikerides eight miles every day. He gives online voice lessons to students and adults, and provides vocal coaching to amateur and professional singers via his website: www.johnnycontardo.net.
To book an interview with Johnny Contardo to discuss the film or soundtrack of "Grease," regarding the "Grease" 45th Anniversary, Rock, or Vocal Health and Expertise:
SOURCE Johnny Contardo
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https://variety.com/2015/music/obituaries-people-news/dennis-greene-dead-sha-na-na-dies-1201590284/
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Dennis Greene, Founding Member of Sha Na Na, Dies at 66
|
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2015-09-11T00:20:35+00:00
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Dennis Greene, a founding member of doo-wop group Sha Na Na and former Columbia Pictures exec, died September 5 at age 66.
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en
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Variety
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https://variety.com/2015/music/obituaries-people-news/dennis-greene-dead-sha-na-na-dies-1201590284/
|
Dennis Greene, a founding member of the rock and roll/doo-wop group Sha Na Na and former Columbia Pictures exec, died Saturday at a hospital in Dayton, Ohio. He was 66.
According to the LA Times, Greene died after a brief illness.
Greene reached fame as part of Sha Na Na, the group known for “Tears on My Pillow” and “Born to Hand-Jive.” Both songs were on the soundtrack of the 1978 film “Grease,” along with other tracks performed by the group including “Those Magic Changes,” “Hound Dog,” “Rock & Roll Is Here to Stay” and “Blue Moon.”
Sha Na Na appeared as a band called Johnny Casino and the Gamblers in the film, along with appearances in the 1970 documentary “Woodstock” and the group’s television series, “Sha Na Na.” The variety show aired from 1978 to 1981.
After 15 years with the group, formed at Columbia University, Greene left Sha Na Na to pursue a master’s degree at Harvard and a law degree at Yale.
He went on to become vice president of production and features at Columbia Pictures, where he worked on Spike Lee’s “School Daze,” and later became president of Lenox/Greene Films. Greene eventually settled in law. He worked as a professor at multiple universities, including University of Dayton, Florida A&M University and Ohio State University.
Popular on Variety
Greene is survived by his brothers Michael and Gerald.
Watch Greene perform with Sha Na Na in “Grease” below.
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0
| 64
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https://www.mycast.io/talent/sha-na-na
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en
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Na Fan Casting
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View casting suggestions for Sha-Na-Na, and make your own suggestions for roles you think they should play in upcoming films!
|
myCast - Fan Casting Your Favorite Stories
|
https://www.mycast.io/talent/sha-na-na
|
Join myCast
Do you love movies? Fan casting? myCast is the place for you!
Join thousands of other users in fan casting your favorite stories. Take 30 seconds to create a completely free profile, which will allow you to:
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Join myCast
Do you love movies? Fan casting? myCast is the place for you!
Join thousands of other users in fan casting your favorite stories. Take 30 seconds to create a completely free profile, which will allow you to:
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||||||
8788
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dbpedia
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3
| 66
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https://www.billboard.com/music/rock/sha-na-na-woodstock-50-years-8516675/
|
en
|
Sha Na Na Talks Woodstock Hallucinogens & 50 Years of Rocking
|
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[
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[
"Gary Graff"
] |
2019-06-19T16:37:23+00:00
|
"The golden age of rock n' roll that everyone knows and loves" has been good for Sha Na Na -- to the tune of 50 years, a surprise booking at the first Woodstock festival, a hit TV show and an appearance in the Grease film.
|
en
|
Billboard
|
https://www.billboard.com/music/rock/sha-na-na-woodstock-50-years-8516675/
|
“The golden age of rock n’ roll that everyone knows and loves” has been good for Sha Na Na — to the tune of 50 years, a surprise booking at the first Woodstock festival, a hit TV show and an appearance in the Grease film.
The group is celebrating in style this year, including a return to the Woodstock site in Bethel, N.Y., earlier this month and a new 50th Anniversary Commemorative Edition album dropping June 21 and featuring unreleased live tracks — including a version of “Whole Lotta Shakin’ Goin’ On” that’s premiering below — as well as new studio recordings from remaining co-founders John “Jocko” Marcellino and Donny York and longtime member Screamin’ Scott Simon.
Marcellino tells Billboard that “it was all campy” when Sha Na Na formed at Columbia University during 1969, with guitarist Henry Gross, who went on to solo success, and Elliot “Gino” Cahn, who managed Green Day early in their career. But at some point the singer and drummer says the group became more than a schticky curiosity. “People started realizing how great these songs were,” Marcellino notes. “It wasn’t just nostalgia, you know? It was great American music based on blues and rhythm & blues and the doo-wop songbook. We try to do the songs as they are; We don’t try to fix the songs, but we try to present them in a big and fun way.
“I think people expect to come to a Sha Na Na show and have a good time, and I think we deliver.”
Among the group’s early fans, of course, was Jimi Hendrix, who caught some of Sha Na Na’s early performances at Steve Paul’s Scene club in New York. It was Hendrix who hipped Woodstock co-producers Michael Lang and Artie Kornfeld and suggested they be added to the festival bill. “Our manager, who was a grad student at the time, was talking to them and said, ‘These guys want you to do something called Woodstock,’ and I said, ‘Go over and tell them yes, we’ll do it,’ because I had been hearing all about it,” Marcellino recalls. “We were indebted to Jimi Hendrix twice — once for getting the producers down there and getting us the gig, and then for making sure we got to go on stage. We got paid $350 and that check bounced, and we got a dollar to be in the movie.”
Sha Na Na wound up going on just after dawn on Aug. 18 and just before Hendrix closed the festival. “There’s footage of (Hendrix) grooving on the side, watching our act as his team was getting ready,” Marcellino says. “We were almost edited out (of the film) but we were getting standing ovations at previews in New York and L.A., so they left it in. We were a little different from everyone else that was in (the film), and I think people liked that.”
Marcellino and most of his bandmates spent the entire weekend at Woodstock, and besides the usual memories of mud and chaos he particularly recalls a Saturday night experience while walking around the site with Bruce “Bruno” Clarke. “I was enjoying a hallucinogen of some kind and I decided I wanted to be alone — but of course I was in the midst of half a million people. So we wandered up to the top of the hill, me and a couple of buddies, and Creedence was doing ‘Born on the Bayou’ and there were like rings coming off the cymbals that were going over the crowd, and the crowd probably had cigarette lighters and there were candles. It was an extraordinary sight. I had a groovy experience, like any kid who was there.”
The current incarnation of Sha Na Na does about 25 shows a year, according to Marcellino, who now lives in La Jolla, Calif. “Not too many, but enough to keep it going,” he says. “It’s pretty extraordinary; It’s something that started as college fun 50 years ago, and it’s remarkable that it still has legs. And we still rock.”
|
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1
| 90
|
https://www.tampabay.com/music/woodstock-was-a-myth-sha-na-nas-henry-gross-who-played-before-hendrix-wants-to-bust-it-20190807/
|
en
|
Woodstock was a myth. Sha Na Na's Henry Gross, who played before Hendrix, wants to bust it.
|
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[
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[
"Jay Cridlin"
] |
2019-08-07T14:01:00+00:00
|
Henry Gross could tell you all the Woodstock stories you want to hear.
|
en
|
/pf/favicon.ico
|
Tampa Bay Times
|
https://www.tampabay.com/music/woodstock-was-a-myth-sha-na-nas-henry-gross-who-played-before-hendrix-wants-to-bust-it-20190807/
|
Henry Gross could tell you all the Woodstock stories you want to hear.
He could tell you about splitting a bottle of Jack Daniel's with Jimi Hendrix. He could tell you about smoking up and holding court backstage with Jerry Garcia. He could tell you about the joy of watching Carlos Santana and Alvin Lee play guitar, or the religious experience of watching Joe Cocker sing.
"I was 20 feet away," he said, "and if that didn't lift you off the f---ing planet earth, you're not human."
He could tell you all this stuff. He could.
Or he could tell you the truth. Which is that Woodstock, the iconic festival that took place 50 years ago next week, isn't everything the world thinks it was. It wasn't then, and it isn't now. Not the way he sees it.
"When I see the promotion of all this stuff with Woodstock, I think, you know, is it great to promote to this generation that we had something better that was magical that you don't have?" he said. "I don't know. I think they have magic that we didn't have. There's magic in everyone's lives if you want it, and there's also a sea of s--t. Am I wrong?"
Maybe not.
Gross was 18, the youngest performer at Woodstock, when he took the stage with Sha Na Na just after sunup on Aug. 18, 1969 — right before Hendrix and his Star-Spangled Banner. Almost exactly 50 years later, he'll perform at the Nancy and David Bilheimer Capitol Theatre's Hippiefest on Aug. 16, alongside fellow Woodstock veterans Ten Years After, plus Vanilla Fudge and Big Brother and the Holding Company.
For a lot of those 50 years, Gross has had a chip on his shoulder about Woodstock. The festival's golden anniversary seemed like a good time to let it fly.
"When people talk about the 'Woodstock spirit' — what 'Woodstock spirit'? It was a gig. It was entertainment," said Gross, now 68. "The musicians were playing very expensive guitars and wearing very expensive clothes in a roped-off backstage area. How is that different from today's political debates, or whatever you want to compare it to? There were people standing there: 'My group is not going on until we have cash.'
"The 'Woodstock spirit,' " he scoffed.
Woodstock is a brand, he said — has been ever since the documentary and soundtrack were released in 1970. The experience has been repackaged and resold time and again, through books and merchandise and revivals in 1994 and 1999. A planned 50th anniversary mega-festival was set for next week, featuring Woodstock veterans like Santana and Dead and Company alongside Miley Cyrus and Chance the Rapper, before it was canceled amid financial and organizational chaos. Didn't matter to Gross, though. He said he never got a call in the first place.
"There have been a million horses--t discussions about Woodstock, and how frivolous and stupid Sha Na Na was," he said. "Twelve guys did a great show, an earth-shattering show, at 7 in the morning, not even slept for a day and a half, and got a check for $300 that bounced. Billions of dollars were made; I never got my $20. Doesn't that tell you something about the myth?"
If Gross sounds like a "miserable cynic" — his words — it's not without reason. Sha Na Na might well be the most historically maligned artist at Woodstock. They were college kids, Ivy Leaguers mostly, who dressed like greasers and sang peppy, half-joking covers of nostalgic pop ditties like At the Hop, Get a Job and Teen Angel. They were at the forefront of a '50s revival that spawned Grease, Happy Days and their own variety show. They did not, in other words, fit the typical Woodstock mold.
"In the face of everything that was the same — hippiedom, long hair, this and that — we used to joke that Sha Na Na could make a group after this called the Tomato Spaceship, and we'd be the biggest thing in the world," he said. "And the fact is, the Tomato Spaceship was on every base, in every position in the outfield and the infield. The entire show was the Tomato Spaceship."
Ironically, if you go back and watch old clips of Sha Na Na at Woodstock — clips where you see a bemused Hendrix watching sidestage — their over-the-top campiness stands out. It wouldn't be inconceivable to pluck that band off Max Yasgur's farm in 1969 and plop them on stage at Coachella in 2019. In a modern festival landscape dominated by pop and hip-hop acts, they might fit right in.
"We were a glitter rock band," he said. "We were theatrical. No one had ever seen that. There were 12 guys up there. All right, most of them weren't great singers, most of them weren't terrific musicians. But that wasn't what we were selling. We were selling this experience of being somewhere that you maybe wished you had been, and now you could be there. It opened the door for all kinds of things in rock and roll that became possible. You could argue that Sha Na Na predated Beyoncé's show."
He doesn't stop there.
"I submit to you that Sha Na Na should have been one of the first people, if there were a legitimate Rock and Roll Hall of Fame, to go into it," he said. "If you want entertainment, the original Sha Na Na cannot be beat."
Gross has had a lot of time to think about this. He left Sha Na Na in 1970 to embark on a solo career, highlighted by the 1976 hit Shannon. Watching Hendrix follow Sha Na Na at Woodstock had a lot to do with that.
He's making music only he can make, Gross remembered thinking. Life's short. I need to do that.
Rock's arbiters of cool will never embrace Sha Na Na for much more than a novelty act; Gross knows this, even if he doesn't understand it. Yet Woodstock only seems to get more mythical with age. It's an "absurd and sad puppet show," he said, kept alive by gatekeepers with something, always to gain. No one remembers it his way.
"There was a lot of great things that happened," he said. "But that's not what I object to deifying. It's the mythmaking and the branding of everything. ... There was a joy to it. I'm just wondering if musically, it was a joy, or it was a business?"
Woodstock at 50. After all these years, it's still muddy.
Contact Jay Cridlin at cridlin@tampabay.com or (727) 893-8336. Follow @JayCridlin.
Hippiefest
With Henry Gross, Ten Years After, Vanilla Fudge, Big Brother and the Holding Company. $45 and up. 7:30 p.m. Aug. 16. Nancy and David Bilheimer Capitol Theatre, 405 Cleveland St., Clearwater. (727) 791-7400. rutheckerdhall.com.
|
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dbpedia
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https://shanana.bandcamp.com/album/woodstock-20-years-after
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en
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Woodstock: 20 Years After
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2022-08-05T00:00:00+00:00
|
Woodstock: 20 Years After by Sha Na Na, released 05 August 2022
1. Rock Around the Clock
2. Tossin' and Turnin'
3. The Stroll
4. Whole Lotta Shakin' Goin' On
5. MEDLEY:High School Confidential/ At the Hop
6. Let's Dance
7. Queen Of The Hop
8. Save the Last Dance for Me
9. Chantilly Lace
10. You've Lost That Lovin' Feelin'
11. You Can't Sit Down
12. Blueberry Hill
13. Tequila
14. Hit the Road Jack
15. Tonite, Tonite
16. In the Still of the Night
17. Get A Job
18. Oh Lonesome Me
19. Promised Land
20. Band Introduction
21. Rock and Roll Is Here to Stay
22. Goodnight My Love
23. Goodnite, Sweetheart, Goodnite
Sha Na Na, the popular 1950s revival group which has sold over 20 million records and starred in its own syndicated television series, was one of the performers at the original 1969 Woodstock Music Festival. Twenty years later, the band joined original fellow musicians for the "Woodstock: 20 Years After" concert held 3,000 miles away at Cal-State Dominguez Hills in Carson, California on August 20, 1989.
Sha Na Na's appearance at Woodstock was only the band's eighth performance. Formed during the 1968-69 school year at Columbia University, the idea for the band was conceived by George Leonard, a humanities graduate student, who also became the group's choreographer. The original lineup featured a dozen members and performed a song-and-dance repertoire based on popular '50s rock and doo-wop hits. "Within two months we were the hottest rock act in New York, held over weekly at Steve Paul's Scene, where the stars themselves partied. One night Janis Joplin ran backstage to kiss us, reeking of Southern Comfort," recalled Leonard. According to the band's drummer, John Fair "Jocko" Marcellino, it was on the final night that Steve Paul's Scene was open that Jimi Hendrix personally introduced Sha Na Na to Woodstock's producers, Michael Lang and Artie Kornfeld. "We were booked that night," Marcellino told Yahoo Entertainment's Lyndsey Parker. "We got $350, the check bounced, and we got a dollar to be in the movie. But that was a good dollar."
Their high energy presentation and set-closing rendition of "At the Hop" was a highlight of the concert and appeared in the documentary film. The movie helped make Sha Na Na a U.S. sensation and triggered a '50s nostalgia craze that inspired the Broadway musical Grease, American Graffiti, and the 1970s television series Happy Days. When the film adaptation of Grease arrived in 1978, the accompanying soundtrack included six songs by Sha Na Na, and the group performed two songs in the film as as Johnny Casino and the Gamblers.
|
en
|
Sha Na Na
|
https://shanana.bandcamp.com/album/woodstock-20-years-after
| ||||||
8788
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dbpedia
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3
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https://www.bethelwoodscenter.org/news/detail/sha-na-na-50-years-of-peace-music
|
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|
Sha Na Na: 50 Years of Peace & Music
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Rock ’n’ Roll tribute band Sha Na Na wins everyone’s prize for the most out-of-place act at Woodstock. Performing songs from the 1950s and looking nothing like the young people in the audience, they danced, dit-dit-dited, and doo-wopped their way through a high-energy half-hour set that left people delighted and bewildered.
Celebrating the 50th anniversary of the Woodstock festival, August 1969–2019
Day Three, Performer 9: Sha Na Na
Performed Monday morning, August 18, 7:45–8:15 am
Sha Na Na Band Members
Donald “Donny” York: vocals
Rob Leonard: vocals
Alan Cooper: vocals
Frederick “Dennis” Green: vocals
Dave Garrett: vocals
Richard “Richie” Joffe: vocals
Scott Powell: vocals
Joe Witkin: electric piano, vocals
Henry Gross: guitar
Elliot Cahn: guitar
Bruce “Bruno” Clark: bass
Jocko Marcellino: drums
Sha Na Na Woodstock Setlist
Get a Job
Come Go With Me
Silhouettes
Teen Angel
(Marie’s the Name) His Latest Flame
Wipe Out
The Book of Love
Little Darlin’
At the Hop
Duke of Earl
Get a Job (reprise)
The Early Years
Sha Na Na was the creation of Columbia University students Donald “Donny” York, Rob Leonard, Alan Cooper, Frederick “Dennis” Green, Dave Garrett, Richard “Richie” Joffe, and Scott Powell, who were part of an a cappella group known as The Kingsmen. The name change was necessary because there was already a group by that name, famous for their version of the garage band classic, “Louie Louie.” The name Sha Na Na was taken from the 1957 song, “Get a Job,” by the Silhouettes, which became part of their repertoire. They added Joe Witkin (keyboards), Henry Gross and Elliot Cahn (guitars), Bruce “Bruno” Clark (bass), and Jocko Marcelino (drums) to their large vocal lineup, dressed in gold lamé and leather jackets, and slicked back their hair, and Sha Na Na was born.
Sha Na Na began performing in New York City clubs in 1969. They quickly caught the attention of the hip cognoscenti such as Fillmore promoter Bill Graham, who would have Sha Na Na open for heavyweight counterculture acts such as the Grateful Dead and Frank Zappa’s Mothers of Invention at the Fillmore East. By chance, Woodstock promoter Michael Lang happened to catch one of these early shows and offered the chance for Sha Na Na to have their big break at Woodstock.
Waking Up Woodstock
Having been up all night rocking out and partying, the crowd—or what was left of it—was pretty beat by 7:45 am. One can only imagine the shock and surprise that must have come over the audience when Sha Na Na walked onto the stage. Complete with leather jackets, greasy ducks-ass hairstyles, and gold lame suits for its front line members, the band went for it, bringing back deceptively simplistic early rock in an era dominated by more progressive musicians (such as the bemused gentleman watching Sha Na Na from the side of the stage, Jimi Hendrix). Contemporary groups such as The Mothers of Invention and Fleetwood Mac regularly incorporated similar ’50s throwback segments into their acts, but these were more straight parodies and none of the others took it quite this far. Somehow or other, this group of greasers—with a healthy dose of wink thrown into their act—snuck onto the Woodstock bill as the festival’s penultimate act.
Their set began with a ripping version of The Silhouettes’ “Get A Job,” their speed-freak intensity impressive considering the early hour, and the stunned audience gave them an effusive ovation. Versions of The Del-Vikings’ “Come Go With Me” and The Rays’ “Silhouettes” showcased the group’s strained-but-sincere harmonies before the gold lame-clad vocalist Rob Leonard stepped forward to deliver the lead on a severely tongue-in-cheek version of Mark Dinning’s teen tragedy classic “Teen Angel.” The crowd roared with appreciative laughter.
Pepping it up, vocalist Donny York took the lead for an energetic stomp through Elvis Presley’s 1961 hit “(Marie’s The Name) His Latest Flame.” The Surfaris’ classic instrumental “Wipe Out” pumped the crowd further, complete with the famed ferocious drum breaks being replicated easily by Jocko Marcellino and epileptic dancing fits from guitarist Henry Gross. Group harmonies returned with takes on The Monotones’ “The Book Of Love” and The Diamonds’ wonderful “Little Darlin’,” and the main set closed with bass vocalist Alan Cooper taking the lead on a frenzied reading of Danny and The Juniors’ “At The Hop,” which got the band a deserved standing ovation (although most of them were standing anyway, since few people would want to sit in that mud).
The encore was a sensitive rendition of Gene Chandler’s “Duke Of Earl” with a somewhat tentative, nervous lead vocal by tenor vocalist and group choreographer Frederick “Dennis” Greene (who had trained the band to do their dead-on 1950s group-style dance moves). A quick instrumental reprise of “Get A Job” followed, allowing the vocalists to run off the stage ahead of the instrumentalists.
A 1950's Revival
Thanks to Michael Wadleigh’s inclusion of “At The Hop” in his Woodstock documentary, Sha Na Na hit the big time, with years of successful concert tours and a hit TV show making them one of the more enduring (and ironic) images of 1970s American pop culture. The band’s popularity spurred a revival of 1950s music and fashion across the country in the early 1970s, as seen in the Broadway musical Grease, the movie American Grafitti, the television series Happy Days, and Sha Na Na’s own television series which ran from 1977 to 1981.
Where Are They Now?
Of the original Sha Na Na members who played Woodstock, only three continue to perform. Vocalist Donny York and drummer Jocko Marcellino both graduated from Columbia and continue to perform as members of the current Sha Na Na lineup. Guitarist Henry Gross left the group in 1970 to pursue a solo career, scoring a hit with his 1976 single, “Shannon.” Vocalist Rob Leonard left the group in 1970, earned his PhD from Columbia and is a recognized expert in linguistics, serving on the editorial board of the Oxford University Press series, Language and the Law. Vocalist Alan Cooper earned his doctorate in Biblical Studies at Yale University and teaches at Union Theological Seminary and The Jewish Theological Seminary.
Vocalist Dave Garrett co-founded a Long Island-based musical instrument amplifier company in 1970. Richie Joff became a lawyer and is a class-action litigator in New York. Vocalist Scott Powell left the group in 1980 to become a doctor and teacher. Among his accomplishments, he is the team physician for the U.S. Soccer Federation Women’s National Team and works with the charity, MusiCares, to give free medical care to musicians who cannot afford it. Keyboardist Joe Witkin is an emergency room physician in California. Bassist Bruce Clarke earned his PhD in English and is a professor of Literature at Texas Tech University. Vocalist Frederick “Dennis” Greene earned degrees at Harvard and Yale and enjoyed a successful career as a motion picture executive before his death in 2015. Most of the surviving members of Sha Na Na reunited for a one-off performance at Columbia University in 2016.
—Wade Lawrence & Scott Parker
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https://www.thepalacetheatre.org/concerts-events/sha-na-na/
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Sha Na Na – The Palace Theatre
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https://www.thepalacetheatre.org/concerts-events/sha-na-na/
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Sha Na Na
50th Anniversary Tour
with special guest PENDULUM: a Tribute to Creedence Clearwater Revival
Rich Engler Presents
Saturday, November 16, 2019 at 7:30 PM
$24, $34, $40, $56
_________________________
SPECIAL MILITARY & VETERAN DISCOUNT
Military personnel & veterans can receive $10 off a $56 ticket or $7 off a $40 ticket when they use code JOCKO at check-out. Offer valid for MILITARY & VETERANS ONLY.
Sorry, no adjustment on prior sales.
_________________________
Buy Tickets
Sha Na Na…
…may not have invented Rock nostalgia, but the group has successfully – very successfully – celebrated the music and memories for the past four decades… in concert, in the movies and on TV, and on record. Sha Na Na’s story is an all-encompassing one: they were in the original Woodstock Festival lineup, starred in Grease, hosted the Sha Na Na TV Show from 1977 to 1981 for a total of 97 episodes, and still play more than 50 concerts a year, from state fairs, performing arts centers, casino showrooms to mega corporate functions worldwide. And through it all – flower power, hard rock, metal music, disco, hip hop, rap and more – Sha Na Na remains true to the original concept: Rock ‘n Roll is here to stay! The Sha Na Na story begins oddly for a group that, in appearance, runs the gamut from greaser to gold lame. Attired in turtleneck and blue blazers, the nucleus of Sha Na Na were undergraduate members of The Kingsmen, a glee club ensemble at New York’s Columbia University that used to perform a cappella versions of ‘50s Rock songs as part of the performances. These proved very popular and eventually Rock ‘n Roll took over, instruments were added, and Sha Na Na – the name comes from the ‘50s Silhouettes’ hit, Get A Job – was born.
Heard of Woodstock?
… If the original 1969 Woodstock Festival was a defining moment in rock history, it was also a defining moment in the history of Sha Na Na. The group’s appearance – only the eighth in Sha Na Na’s career, followed by the Woodstock album and movie, cemented their reputation and style. “We went on second to last, at sunrise on the final day, but, importantly, just before Jimi Hendrix,” recalls co-founder, drummer Jocko Marcellino. “We did 40 minutes and were paid $350…and the check bounced!” Sha Na Na was the only group at Woodstock without a record deal. Immediately afterward, they had one and today the group has released eighteen albums in total, with worldwide sales of more than 20 million.
TV was another important step for the group…
The group taped 97 episodes of the Sha Na Na music variety shows from 1977 to 1981 that were seen – and still can be – in worldwide syndication. The shows, which featured Sha Na Na’s music, plus the group in comedy skits with special guests, further established the group’s credentials as a part of the landscape of rock & roll America.
Grease is still the word for Sha Na Na…
Grease: The Movie became another significant building block in the Sha Na Na story. The group appeared in the 1979 musical, as Johnny Casino and the Gamblers, and contributed to the music score with six Sha Na Na versions of rock classics and one original song, “Sandy,” co-written by Screamin’ Scott Simon for John Travolta to sing. Between takes, Travolta also sang a little doo-wop with the group. The accompanying Grease soundtrack album was a major hit, Grammy-nominated and certified eight times platinum. Recalls Marcellino: “Whole new generations get swept up in the nostalgia craze, effectively becoming our potential audience.” For example, Sha Na Na played the immense Los Angeles County Fair in front of a special audience – 20,000 Girl 2 Scouts! “They were too young to have seen our TV show, but they had seen Grease on video. They knew the words to every song from the movie.” Sha Na Na recently rocked The Hollywood Bowl at a Grease Sing-A-Long presented by The Los Angeles Philharmonic hosted by Didi “Frenchy” Conn with special guest drummer Dave Grohl of the Foo Fighters. A Hollywood Bowl tradition, the event celebrated the 35th Anniversary of the beloved Grease film, the highest grossing musical film of all time.
Live in concert….
Working for nearly five decades throughout the world, Sha Na Na has performed worldwide: from Carnegie Hall to the Grand Ole Opry, in Asia and in Africa, London to Tokyo. They have had some interesting newcomers opening for their show, such as Bruce Springsteen, Billy Joel, Billy Crystal, Steve Martin and Jay Leno! Live performances remain at the heart of Sha Na Na. Whether it’s those Girl Scouts or their baby boomer parents, the reaction to the group is the same – the discovery of a common joy in the music from a time when part of the world was “greased and ready to rock.”
To order by phone, call the Box Office at 724-836-8000
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http://www.ashevilledailyplanet.com/news/5874-an-original-sheds-light-on-sha-na-na-and-how-it-spawned-doo-wop-revival-miscast-50s-as-golden-era
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An ‘original’ sheds light on Sha Na Na — and how it spawned doo
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Asheville Daily Planet provides local news, entertainment, sports, and more for Asheville and Western North Carolina.
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Asheville Daily Planet
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http://www.ashevilledailyplanet.com/news/5874-an-original-sheds-light-on-sha-na-na-and-how-it-spawned-doo-wop-revival-miscast-50s-as-golden-era
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By JOHN NORTH
This e-mail address is being protected from spambots. You need JavaScript enabled to view it
A discussion on the musical and cultural impact of Sha Na Na — formed in 1969 as a doo-wop revival band that unexpectedly impressed guitar-great Jimi Hendrix who helped pave the way for the band’s unlikely smashing national debut at the famed Woodstock Music Festival (a few months later) in August 1969 — was held Nov. 2 during the Music to Your Ears session at the Asheville Guitar Bar in Asheville’s River Arts District.
The 90-minute program, which drew a full house of about 30 attendees, featured Elliot “Gino” Cahn — a founding member of Sha Na Na (who sang and played rhythm guitar) and now is an Asheville-area resident — in an “interactive” discussion (including a few breaks to listen to recordings by the group) with Asheville-based author and music journalist Bill Kopp.
Periodically, the program was opened to questions from audience members for Cahn. And there were many questions, including afterward. (Cahn is now mainly an entertainment lawyer, but still loves performing music.)
A revelation to emerge from Cahn’s talk was his contention that Sha Na Na members agreed from the start to capitalize off the idea that the band should present the America of the 1950s as Americans, in 1969, wanted to remember it, instead of the rather ugly way it really was.
Before the program began, Kopp, the host, played over the Asheville Guitar Bar’s sound system covers — by Sha Na Na — of several doo-wop classics, including the following:
• “Get a Job” — a song originally recorded by The Silhouettes that sold more than 1 million records and reached No. 1 on both the pop and rhythm and blues record charts in 1958.
• “Teen Angel” — a song originally recorded by Mark Dinning that hit No. 1 on the Billboard chart in 1960, despite the reported initial reluctance of some disc jockeys to play it because of its morbid subject matter — a teenager’s car stalls on the railroad tracks.
• “Book of Love” — a song originally recorded in 1958 by The Monotones that reached No. 5 on the pop chart and No. 3 on the R&B chart.
(In a brief interview after the program, Cahn told the Daily Planet that he grew up singing doo-wop music with groups in New York City, including outside under the streetlamps at night, as welll as singing in any other locales available. He said he also had deeply experienced listening and singing to jukebox music in diners and elsewhere. What’s more, he admitted a deep love for doo wop music.)
The formal program began with Cahn noting that, while attending Columbia University, he joined what is billed as the school’s “oldest and finest” all-male a cappella group “since 1948,” the Columbia Kingsmen, where, in Ivy League style, he said with a laugh, “it was blazers with repp ties (classic, diagonally striped silk ties) and grey flannels (trousers).”
The group performed about three times a year, he said, recalling that it once performed for the the “psych ward” at a local hospital, where, he noted that, in an ironic twist, the group “sang Little Anthony and the Imperials’ ‘Goin’ Out of My Head,” a 1965 hit that was a major leap from the Columbia Kingsmen’s usual repertoire — but was well-received by both the staff and the mental patients.
“I took over the musical direction of this group when I was a sophomore. We did more folk-rock stuff,” at first. “But we still wore navy blue (blazer) jackets, ties and grey flannel pants.”
After a pause, Cahn said, “We had someone (George Leonard) in the group who was obsessed with pop culture and trivia — and he put on the first All-Ivy Trivia Contest, at which Sha Na Na performed The Diamonds’ “Little Darlin’,” a 1957 doo-wop classic
At that point, Sha Na Na’s cover of “Little Darlin’” then was played over The AshevilleGuitar Bar’s sound system.
Cahn reiterated that, standing in a semi-circle, “we did this (song), wearing navy blue (blazer) jackets, ties and grey flannel pants.”
According to an essay, “Sha Na Na and the Woodstock Generation,” it was during the group’s performance at the trivia contest that “when Rob Leonard did the spoken solo (of “Little Darlin’” when the audience reaction was so intense that George Leonard (already studying choreography) had his vision of a group that would sing only ‘50s rock and perform dances like the Busby Berkely films Susan Sontag had taught George to love.”
The essay added, “By great luck, George and Rob found in the (Columbia) Kingsmen Elliot Cahn and Al Cooper, who could rewrite simple doo-wop harmonies into operatic compositions for 12 voices....”When the school’s fraternities decided to throw a spring 1969 carnival, the essay noted, George Leonard said that if they hired the Columbia Kingsmen at $100 per man, he would repackage it as the First East Coast Grease Festival and advertise it up and down the East Coast.
The essay noted that “the Grease Festival turned out to be the first taste of Woodstock, three months later. Five thousand spaced-out, peaceful freaks from Harvard to Virginia made a bobbing sea of heads beneath the (Columbia) Kingsmen, who performed on the steps next to (their) alma mater. It was a grand ending for the Class of ‘69, soon to be called The Woodstock Generation.”
To that, Cahn added with a smile, “We threw a party with a flyer called, ‘Come as you were.’”
To much acclaim, “we played our set (of all of the doo wop songs that the group had rehearsed) — and then they made us play our set again,” Cahn said. “That’s all we knew. So something kind of clicked” with the crowd becoming so ecstatic over the doo wop music.“
Then someone laid out a plan,” Cahn explained. “In 1969, the whole country was yearning for a return to the 1950s — even though many people were trying to forget that the ‘50s even happened.
“This guy, George Leonard, soon told the other members of the Columbia Kingsmen that “if you do it exactly as I say it, you’ll be the heroes” of their generation and beyond.
When one of the group members objected, noting, “But George, only one of us ever even played in a band before,” Cahn said, “He (Leonard) looked at us and said (merely), ‘Details!’“
So he convinced us after this one show” to become a 1950s doo wop revival group, “so we spent one month furiously learning songs and choreography. Everyone showed up in (‘50s doo wop) costumes,” ranging from gold lamé suits to greaser attire.
After another pause, Cahn noted that in 1969, “The atmosphere at Columbia was real hostile. People on the left and the right were talking about as kindly to one another as people are now.
“The strange thing is these people who hated each other were walking around the halls, singing together” — but only to 1950s doo wop songs.“Then we did a show for 4,000-5,000 people. It was just riotous. We found a manager and agent. For our very, very first gig, we played at Dino’s Club in mid-town New York.”While waiting alone in Dino’s office, Cahn said, “I saw a contract (on the desk that he chose to read that specified no payment was to made to the group), so somebody was ripping us off on our very first gig.”
The group’s first agent-manager also wanted to change the name of the Columbia Kingsmen to The Put-Ons, so, according to the aforementioned essay, “George changed our name to Sha Na Na — just for the weekend, he promised... he’d think of something better next week. “We (then) hit so fast he became scared to (change the group’s name to something else). Within two months we were the hottest rock act in New York, held over week after week at Steve Paul’s Scene, where the stars themselves partied.
“One night Janis Joplin ran backstage to kiss us, reeking of Southern Comfort; another night Rob was being helped off the Scene’s floor after collapsing in the finale
“One night Janis Joplin ran backstage to kiss us, reeking of Southern Comfort; another night Rob was being helped off the Scene’s floor after collapsing in the finale of ‘Teen Angel,’ and Bruce Clarke, Ellie Cahn, and Henry Gross were blasting into ‘Wipe Out,’ when Rob looked up and saw Jimi Hendrix not 10 feet away, jumping up and down on a chair, clapping and waving his arms, looking like he was going to take off and fly. Later he told us we were ‘Right ON!’”
Regarding the late guitar great, Cahn said, “Jimi Hendrix was there literally every night. I was playing electric guitar… There was some woman standing up and ripping at her hair like we were the Beatles. It was Janis Joplin. Eric Clapton came” and was enthused. “Within two weeks, we had signed with the William Morris Agency. We gpt booked at the Filmore."
Cahn added, "Then this very scruffy guy came up and said, 'Hey man, I'm playing at Woodstock! Would you guys (Sha Na Na) lke to play" there, too? It was Jimi Hendrix — and that show he got us booked at was ... Woodstock!"
At that point, Kopp asked Cahn, “How many gigs do you think you (Sha Na Na) did before the Woodstock show?”
“Maybe four or five,” Cahn replied.
“Golly!” Kopp exclaimed, before asking, “What about Woodstock?”
“We (Sha Na Na) were supposed to go on right after Joe Cocker, but it started to rain, so other performers wanted to go on (and were allowed to perform, so they could leave immediately afterward) before us,” Cahn said of the Woodstock festival.
“Jimi Hendrix’s contract said he would close the show” and, Cahn said, given the delays and problems caused by the rain deluge before Hendrix’s scheduled performance, Hendrix could have just insisted to perform the first thing the next morning and been finished with the concert.
Instead, Cahn added, “He (Hendrix) was basically nice enough to let us go on first (on the last morning of Woodstock), right before him, We were hanging out with him (Hendrix) — and he kind of liked us” and the Sha Na Na’s doo wop music. “He thought we were cute little college kids.”
After another pause, Cahn said, “I knew my band (Sha Na Na) was going to tear it up (energize the Woodstock audience) — and there was (almost) nobody there (a reduced crowd because of the rain). We sounded terrible. It was a disaster. But we played.”
Kopp then interjected, “There’s the idea that ‘whoever writes history determines who is remembered.’”
To that end, Kopp suggesed that everyone should “read the list of famous bands which played (at the Woodstock festival) that weren’t remembered because they weren’t included in the (subsequent) movie (that featured the festival).
“So you guys (Sha Na Na) were fortunate, in that sense — that you were included in the soundtrack... and in the movie.”
Responding, Cahn said, “We (Sha Na Na) got (paid) $300 for playing Woodstock. Half gets paid to the agent. The other half gets paid later (to the group) — and the ($150) check (to pay the 12 group members) bounced” when he tried to cash it.
Wryly, he added that, now, “I wish I had kept that check instead” as a momento, given that it was such a paltry amount for a performance by a large group at the most renowned of all music festivals, rather than losing track of the check after it bounced for insufficient funds in the banking system.
Further, Cahn said, “They were going to cut us from the (‘Woodstock Festival’) film, but we went over very well with the focus group, so that’s how we got included in the film.” (The group was featured in its performance of Danny & the Junior’s 1957 doo wop classic, “At the Hop.”)
The Sha Na Na co-founder then noted that “the first big gig we did (after Woodstock) was at the Filmore East. I opened my mouth (as the lead singer on the first song) and nothing came out,” so he shook the microphone up and down, as if it was its fault, before his voice returned, creating much attention and interest from the crowd over his seemingly crazed antics.
“We (also) did have a record deal, we just hadn’t started recording yet,” he said.
Kopp said, “Bands have different experiences with overnight success. You (Sha Na Na) guys had it close to ‘overnight?’” He then asked Cahn if he could address that quandary.
“There were 12 of us — one is now an Old Testmanent scholar — and all were still in college, except for me,” Cahn replied. “So basically, we could only play on long weekends and vacations, so we didn’t get carried away like some bands do,” with overnight success.
“Henry Gross was our first guitar player… and he quit after a year to pursue a solo career... He had a hit about (the late) Carl Wilson’s dog — and it sounded just like a Beach Boys’ song. (Wilson was an original member of the Beach Boys.)
Someone in the audience then asked, “Why did you quit Sha Na Na?”
“Without being melodramatic, I looked at how my life would be — and that it would be bad for my soul... perpetually crazy,” Cahn answered. “I would get bored really fast. I just thought this is not good.”
However, Cahn noted that prior to leaving the group, he was involved with Sha Na Na’s first four albums.
Kopp asked, “Did subsequent producers run the show?”
In reply, Cahn said, “We (Sha Na Na) weren’t really very good (musically). We had a terrific live act — and people just loved us. But when we got into the studios, we weren’t particularly good — and we were singing covers, so that’s not good” that Sha Na Na did not sound as good as the originals.
Further, Cahn asserted, “None of our (Sha Na Na) albums did particularly well. The fourth one was a ‘gold album,’” but despite achieving the “gold” distinction, he said the group just did not excel musically.
At that point, Kopp showed the program attendees a Sha Na Na album cover, autographed for him by Cahn.
Cahn then triggered laughter from the audience — and Kopp, the emcee — when he quipped, “I told him (Kopp) the last autograph I did... was for the IRS.”
Cahn then recounted that, during his time with Sha Na Na, the group performed at concerts that included famous acts on the bill, including then-ex-Beatle John Lennon (and Yoko Ono), Stevie Wonder and the then-up-and-coming singer-guitarist Bruce Springsteen.
And the emcee at one concert was Geraldo Rivera, whose show business career was just getting started and who Sha Na Na befriended.
To a questions from the audience, Cahn said, “We never met John (Lenon). He barricaded himself within his dressing room.
“We met Stevie Wonder — and he hung out with us. He was playing piano and we were singing with him.
“We met Keith Moon, the drummer of The Who, who is my favorite drummer of all time, at a concert at which we were playing at. And he invited me and some others to a party at his house. My nickname was (still) ‘Gino’ at the time....”
Kopp asked, “Outside of the United States, where did you tour?”
“When I was in the group, we did three (overseas) tours,” Cahn answered. “We did well in England and Germany, but when we were in Paris, (France) we had a disastrous concert. We were at a big dilapidated sports stadium. It probably seated 10,000 people — and maybe 200 people showed up. Among those people were a gang of French hoodlums — and maybe they thought we’d sound like Eddie Cochran (‘Summertime Blues’), so they took over the stage... and we ended the concert” in complete disarray.
Kopp queried, “The Grateful Dead?”
“Jerry (Garcia, the Dead’s principal songwriter, lead guitarist, and a vocalist) liked us quite a bit. He smiled broadly (when Sha Na Na performed) — he probably was stoned.”
“Sly Stone?” Kapp asked, referring to the frontman for the soul group Sly & the Family Stone.
“Three hours late,” Cahn said succinctly in response. “He (Stone) did show up, but he was always late
“Alice Cooper?” Kopp asked.
“We did a lot of shows with him — and he loved us and we loved him,” Cahn answered. “We got along very well with him.”
“Yes,” Kopp said, “you both had the ‘theatrical’ thing,” an assessment that drew no disagreement from Cahn.
Kopp asked, “The film ‘Festival Express’ — were you in it?”
“Yes, we were in it,” Cahn said of Sha Na Na., noting that the band also was booked to play at the Filmore West, in a situation wherein if it canceled an appearance, it would never be invited back, “so we only played the last stop of the festival, in Calgary, where I think the film was made.” (“Festival Express” was about a 1970 train tour (of the same name) that rolled across Canada, featuring some of North America’s top rock bands.)
“The film got shot… and then they ran into financial problems. And so it was sitting in someone’s cellar for 30 years,” instead of being released in theaters. However, the tapes eventually were rediscovered and the film was released, Cahn said.
“Bruce Springsteen?” Kopp asked.
“He opened a bunch of shows for us,” Cahn said. “He was just getting going” when the members of Sha Na Na met him. “His first album had been out for a few months and wasn’t doing that well. We played a lot of colleges — and he wanted to break into the college market.”
Speaking further about Springsteen, Cahn said, “He had just learned ‘Rosalita,’ which was an amazing song and performance. We hung out together” — and Sha Na Na members were fond of the young Springsteen — and vice versa.
Kopp then asked, “Did you have a sense when you crossed paths with Springsteen that this guy would be thought of in the same way as Van Morrison” — and other musical greats?
“I thought he was really good, but I’m not sure I thought of him that way” at that point in Springsteen’s career, Cahn replied.
“Steely Dan?” Kopp asked.
“They also opened several shows for us,” Cahn answered. “There were several different characters” in Steely Dan. “Some were ‘stand-offish,’ while others were really friendly.”
Kopp asserted, “A number of music scholars credit Sha Na Na as sort of lighting the fuse to the musical revival that opened the doors to (the Broadway musical and film hit) ‘Grease.’”
In response, Cahn said, “If you listen to this guy (a Sha Na Na founder and member) George Leonard, who was the creative spark... In 1969, (he said) America was yearning for a quieter, more placid, duller world,” following the nearly nonstop protests and social unrest that were upsetting citizens across the nation.
“What George was talking about was ‘the greaser’ — rather than ‘the beatnik’ — being created (and highlighted). What we (Sha Na Na) tried to do is hand people the 1950s the way they wanted it, rather than the way it really was.”
A program attendee then asked if Sha Na Na ever wrote and performed original songs?
“We did a side on our second album that was all originals,” Cahn answered. “It was good, but not great.”
Another program attendee asked if any original members remain in Sha Na Na.
The only remaining originals in Sha Na Na, according to Cahn, are Jocko Marcellino, the drummer and vocalist; and Donny York,” a vocalist. Since the group’s founding, “they’ve gone through hundreds of people” as performers.
Cahn added, “We (Sha Na Na) did a reunion concert at Columbia (University) around five or six years ago. The most fun was when we were around the piano, where we learned we still could sing together. But I felt like an ‘old fart’ on stage.”
Kopp asked Cahn to specify what musical instruments and equipment he played and used through the years.
Cahn says he owned a Fender Stratocaster electric guitar and a Fender Showman amp — and a Les Paul Jr. electric guitar.”
Regarding Sha Na Na’s legacy and its marketability now, Cahn noted that “I ran into someone wanted to make a ‘jukebox musical’ about Sha Na Na, but the script was terrible and it never went anywhere.”
Following up, Kopp said, “There was a Sha Na Na TV series in the 1960s,” after Cahn had left the group.
“I thought it (the TV series) was awful,” Cahn asserted.
Agreeing, Kopp quipped (in an apparent reference to the group’s “greaser” aspect), “It was like ‘Hee Haw’ — with Brilcreem.”
Members of the audience laughed at Cahn’s and Kopp’s jabs at the Sha Na Na TV show, but one unidentified man in the crowd said that when he was just a young boy growing up, he watched the show each week “and loved it” then and still remembers it with great fondness today, so he said it was hurtful to hear Cahn’s and Kopp’s trashing of the show.
At that point, both Cahn and Kopp expressed their apprecation to the audience member for sharing his thoughts on the TV show — and said they did not intend to cause offense.
Then Kopp played the second song of the night — Sha Na Na’s cover of the 1961 doo wop classic “Rama Lama Ding Dong” by The Edsels.Despite Cahn’s expressed love and appreciation of doo wop music, he also made numerous critical remarks about the music and the groups, including a verbal shot at the group The Edsels for naming itself after a famously failed model of automobile.
Speaking of himself, Kopp asked, “So having played music — not that (doo wop) kind of music — the songs were short… so how long was the setlist” for Sha Na Na shows (concerts)?
“It was very long,” Cahn replied with a smile.
An audience member then asked, “Is it easy to find videos of live performances when you (Cahn) were in the group?”
“It’s not that easy,” Cahn answered. “It was right before the video era.”
With a grimace, Cahn then reiterated a comment from earlier in the program that “we (Sha Na Na, a 12-member group) got cheated out of $50 for our first gig."
The question of how the group got its name was asked again.“We were the Columbia Kingsmen,” Cahn replied, noting there already was a famous West Coast group called the Kingsmen that had recorded “Louie, Louie,” a classic rock party song.
“The first (doo wop) song we did was the Silhouettes’ ‘Get a Job,’” so the ‘sha na na’ line from that song was adopted as the new name for the group as it transitioned into 1950s’ music.
Later in the program, Cahn said, “My mom taught me how to sing… I loved harmonies” from the beginning, “so doo-wop music was perfect for me... I was the musical director of the group (Sha Na Na).”
During the program, a Daily Planet reporter asked why the tempos of most — if not all — doo wop covers by Sha Na Na were speeded up so much. Why were the gorgeous harmonies being sacrificed for the sake of speed?
"The tempos were timed to match the choreography,” Cahn replied, noting that to rev up an audience with doo wop music, especially in 1969, the group felt it had to greatly accelerate the tempos of its songs. Kopp added,
“Hardly any of those songs hit the three-minute mark.”
Agreeing, Cahn added, “We definitely sacrificed the music for the choreography. It (the Sha Na Na approach to doo wop music) was very aggressive” — and it had to be, for those times.
Kopp asked Cahn, “Do you still have a gold lamé suit?”
“I never wore one,” Cahn answered with a smile. “I really became ‘Gino’ (his Sha Na Na nickname) for a long time.
“When we played our first show, I put half a tube of K-Y (Jelly personal lubricant) in my hair and combed it back. The first time I greased my hair back, I said, “Oh god,’ I look like….”
“So what did you do once you left the band?” Kopp asked.
“I played with Henry Gross for a year and half. Then I ended up singing on some albums. As soon as I went on the road, I knew he was booked, and it was fun singing with him....
”Later, “I was drunk on a plane and reading ‘War and Peace’ — and I just thought, if Leo Tolstoy could do it (be a writer), so could I. I wanted to be writer... So I spent about a year in Los Angeles as a free-lance journalist... Then I went to law school — then graduate school. And then I worked at a think tank for several years — and was tricked by somebody to be a lawyer.”
He later became an attorney for various speed metal bands, lost his hearing and transitioned to punk pop bands, eventually managing the band Green Day.
A woman in the audience asked, “Do you still sing and, if so, what is your favorite song?”
“I still sing,” Cahn replied. “I still play the guitar.— an acoustic. Recently, I liked a song by a group called Little Big Town, a band out of Nashville, that sounds sort of like Crosby, Stills and Nash...”
Someone asked the former Sha Na Na member if he could be in another band, “playing exactly what you’d like,” what would have been his choice?
“I would have been in a band like the Byrds, something like that — or Crosby, Stills... and Cahn — that would have been nice!” Cahn said with a smile.
Kopp then noted “(Frank) Zappa was a huge doo-wop fan....”
To that, Cahn strongly agreed that Zappa loved doo wop music and “one of the guys in my band (Sha Na Na) said Frank wore a gold lamé suit.”
On a coy note, Kopp asked, “There’s a possiblity you’ll be teaching a class at UNCA?”
“Yes,” Cahn replied, “and there’s a possibility you (Kopp) will be teaching that class with me.”
Kopp then said, “Elliot and I have put together a proposal for a curriculum of the ‘History of Rock ’n’ Roll from the 1950s and ‘60s’” to teach at UNCA’s College for Seniors. “We’ve submitted our proposal, but we haven’t heard yet."
Cahn addded, "They really ought to say ‘Yes.' If that one (college class proposal) goes, you’ll ‘have’ me.”
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https://www.rollingstone.com/music/music-news/sha-na-na-na-yip-yip-mum-mum-get-a-job-71964/2/
|
en
|
Sha Na Na Na Yip Yip Mum Mum Get a Job
|
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1969-10-18T12:00:00+00:00
|
Is '50s nostalgia behind the popularity of these Columbia and Brooklyn College undergrads?
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-news/sha-na-na-na-yip-yip-mum-mum-get-a-job-71964/
|
Bass Alan Cooper, majoring in religion, born in New York City, and raised in the suburbs, is typical of the group in his penchant for a seriousness parodied by self-irony. The same intelligence that leads to mastering the rules that lead to Columbia can only progress to an understanding of their very fatuousness. In high school, says Alan, “I was debating and oratory champion. Now,” he says, “I am rather conceited and sometimes even mean … but I’m basically OK, although not so hot-looking.”
Baritone Richard Joffee enumerates the situation of the student in the Ivy League college surrounded by slums: “Parents: Russian Immigrants. Father Chemist. Mother Designer. Two brothers, Harvard graduates. Born: Greenwich Village. Now lives: Jersey. Hero: Mickey Mantle. Plays: guitar, trombone, dead. President high school religious youth group. Editor jr. high paper. V.P. Political-Gov. club in high school. Also Assembly M.C. Participant student Gov. Thrown out of elections for school president. Travel: U.S., Europe, U.S.S.R. Jobs: Library Page, Camp Counselor, Bell Hop. Major: English/Government. Likes: Thighs. Speaks: English. Listens: All languages. At Columbia: Member of Kingsmen. Tutor in Spanish Harlem. Hates: L.B.J., Vietnam War, Greasers, Ignorance, Evil, Apple Pie. Also somewhat ambivalent about his mother. Favorite Music: Anything but nursery rhymes and acid rock. Oldies are almost as bad but not quite. Believes: There is no purpose in living. Has often considered suicide and does not now rule it out completely.”
Only second tenor Denny Green, Harlem-born and bred, the only black in the group, seems unaware of any lunacy in the life programmed for him at Columbia. A scholarship student at Hotchkiss prep school, at the end of his first year at Columbia he had his own weekly radio show, was co-director of a film-making program, a member of the Alpha Phi Alpha fraternity and in pursuit of the American dream.
The group’s over-all sense of irony extends to the long-standing interest they have all shared in popular music while following the straight go-to-college-get-a-degree-and-don’t-make-waves dictum slapped on them by the culture of parents and guidance counselors.
Drummer and baritone John Marcellino, from a Boston suburb, worked with various local rock groups for six years. Joe Witkin, started piano lessons at six, and joined his first rock group, the Phenomenon, in high school. “I played rhythm guitar on my paisley Hofner … played the worst sweet sixteens, but it was incredible fun.” He went on to other groups, some with Henry Gross, playing lead and bass guitar. Bass guitar and second tenor Bruce Clarke, from Washington, D.C., cut his “guitar teeth in a group known as the Fuzz – ‘the band with the arresting sound’.” When that broke up, he organized the “Fantastic Plastic.”
Donald York, from Idaho, remembers “singing more than I would have liked to for church and ladies’ clubs meetings at a very tender age, and my rendition of ‘The Ballad of Davy Crockett’ won me a first prize award when I was four.” But it was his two sisters, ten and twelve years older, who turned him on to his musical reality. “When they were teenagers and I was just a little boy-kid, they provided me with my first exposure to a liberal dose of the kind of music Sha-Na-Na performs today.”
As with rhythm guitar and second tenor Elliot Cahn, from Brookline, Massachusetts: “I was introduced to rock at an early age by my older brother, who is currently a PhD candidate at MIT. I was a regular customer at the local soda shop-teenage hangout, where I would listen to the jukebox and watch with wide eyes the local hoods as they guzzled birch beer and carved their initials in the booths. Late at night I would lie in bed as all the great hits flowed in my mind, and resolved that someday I, too, would be a big rock and roll star, and go out with girls and everything.”
Editor’s picks
For all the members of Sha-Na-Na, the rock explosion was something to grow up into, like D.A. haircuts, pegged trousers, rubbers, beer drinking, wearing your shirt collar up, being a stud.
In that era of Debbie & Eddie, Janet & Tony, and Rock & Tab, when Archie Andrews was grabbing a shiv and rumbling through West Side Story, if you were a hip New York kid you had to make the pilgrimage to the Dick Clark Show in Philly. If you couldn’t make that, you watched Juke Box Jury or its local equivalent. “It has a good beat,” would declare the bright-eyed panelist, “and I’d like to dance to it. But I didn’t understand the words so I’ll give it an 82.”
After which, you made out. Cool. Or zorch. Depending.
The members of Sha-Na-Na were in grade school.
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https://www.pressenterprise.com/2016/02/26/music-lennie-baker-voice-of-sha-na-na8217s-8216blue-moon8217-dies/
|
en
|
MUSIC: Lennie Baker, voice of Sha Na Na’s ‘Blue Moon,’ dies
|
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2016-02-26T00:00:00
|
BOSTON (AP) — Longtime Sha Na Na member Lennie Baker, who sang lead on the doo-wop favorite “Blue Moon” and appeared in the 1978 hit movie “Grease,” has died at age 69.He died Wednesday in Weymouth, where he had been briefly hospitalized after developing an infection, his nephew David Baker said.Lennie Baker spent 30 years […]
|
en
|
Press Enterprise
|
https://www.pressenterprise.com/2016/02/26/music-lennie-baker-voice-of-sha-na-na8217s-8216blue-moon8217-dies/
|
BOSTON (AP) — Longtime Sha Na Na member Lennie Baker, who sang lead on the doo-wop favorite “Blue Moon” and appeared in the 1978 hit movie “Grease,” has died at age 69.
He died Wednesday in Weymouth, where he had been briefly hospitalized after developing an infection, his nephew David Baker said.
Lennie Baker spent 30 years touring with Sha Na Na as a vocalist and saxophone player. He performed “Blue Moon” at Carnegie Hall and around the world and often said it was his favorite tune. With his health failing, he left the group in 2000 and was living in an assisted-care facility for the past two years.
A cousin, Ron Fedele, said Baker “loved to play.”
“He’d pick up a sax, and the crowd would go crazy,” Fedele said Friday. “He was kind of electric — a big magnetic draw. He had a booming voice that would rattle the windows when he sang in the car. And he had a heart of gold.”
Another former Sha Na Na member, Dennis Greene, died in September.
Baker appeared with other Sha Na Na members in “Grease,” which featured them under the stage name Johnny Casino and the Gamblers and starred John Travolta as Danny and Olivia Newton-John as Sandy. Baker also had appearances on the TV show “Sha Na Na,” which aired in the late 1970s.
Sha Na Na co-founder Donny York paid tribute to Baker in a Facebook post, calling him “a man of no few words, many of them in ‘for the ages’ territory.”
Baker was born on April 18, 1946, in Whitman, about 20 miles south of Boston. He played with the 1950s group Danny and the Juniors before joining Sha Na Na.
Drummer Tom Lombardo’s brother was in a 1960s band with Baker called The Pilgrims, whose members dressed up in buckled hats and other Pilgrim garb. He said Baker “just loved music” and was “a really, really nice guy.”
“They used to call him Plymouth Rock because he was always big,” Lombardo said.
Baker’s funeral is scheduled for Tuesday at Blanchard Funeral Chapel in Whitman.
|
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| 30
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https://uk.rarevinyl.com/products/sha-na-na-sha-na-na-us-vinyl-lp-album-record-ksbs2034-393481
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en
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Sha Na Na Sha Na Na US Vinyl LP
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SHA NA NA Sha Na Na (1971 US 14-track LP, picture sleeve. The sleeve shows just a little light shelfwear & the vinyl remains in superb condition with few signs of play KSBS2034) Tracklisting & Info: 01. Yakety Yak 02. Jailhouse Rock 03. Duke Of Earl 04. Tell Laura I Love Her 05. Blue Moon 06. I Wonder Why 07. Great Balls Of Fire 08. Rock & Roll Is Here To Stay 09. Only One Song 10. Depression 11. Canadian Money 12. Top Forty 13. Ruin Me Blues 14. Just A Friend Year of Release - 1971 Format - vinyl LP album (LP record) Record Label - Kama Sutra Catalogue No - KSBS2034 Country of Origin - USA Availability - In Stock
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|
Final 1 In Stock - Buy it Now
£16.00
| /
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SHA NA NA Sha Na Na (1971 US 14-track LP, picture sleeve. The sleeve shows just a little light shelfwear & the vinyl remains in superb condition with few signs of play KSBS2034)
TRACKLISTING AND EXTRA INFORMATION
01. Yakety Yak
02. Jailhouse Rock
03. Duke Of Earl
04. Tell Laura I Love Her
05. Blue Moon
06. I Wonder Why
07. Great Balls Of Fire
08. Rock & Roll Is Here To Stay
09. Only One Song
10. Depression
11. Canadian Money
12. Top Forty
13. Ruin Me Blues
14. Just A Friend
Artist - Sha Na Na (click link for complete listing)
Title - Sha Na Na (click link for more of the same title)
Year of Release - 1971
Format - vinyl LP album (LP record)
Record Label - Kama Sutra
Catalogue No - KSBS2034 (click link for more)
Country of Origin - United States (USA)
Language - Regardless of country of origin all tracks are sung in English, unless otherwise stated in our description.
Additional info - Deleted, Picture Sleeve
Global Trade Item Number (GTIN) - 5052795035403
Condition - This item is in Excellent condition or better (unless it says otherwise in the above description). We buy items as close to Mint condition as possible and many will be unplayed and as close to new as you could hope to find. Irrespective of the source, all of our collectables meet our strict grading and are 100% guaranteed. Click here for more info.
RareVinyl.com Ref No - 5NNLPSH393481
Related Artists - Henry Gross.
GENRES
50's Artists / Rock & Roll, 60s Rock, POP, Rockabilly, Rock, Soul and r&b.
ORDERING
Availability - In Stock - Buy Now for shipping today
Postage/Shipping Cost - Add item to your basket for a postage/shipping quote. For further delivery info click here
Email - sales@rarevinyl.com to contact our sales team.
To order by phone - Call (+44) 0147485010
RareVinyl.com Reference Number - 5NNLPSH393481
SELL TO US
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8788
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1
| 85
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http://forgottenhits60s.blogspot.com/2016/05/a-very-special-sha-na-na-reunion-and.html
|
en
|
FORGOTTEN HITS: A Very Special Sha Na Na Reunion ... and Some Words From Henry Gross!
|
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As we told you the other day, the surviving original members of Sha Na Na are getting together for a special concert event back where the w...
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en
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http://forgottenhits60s.blogspot.com/favicon.ico
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http://forgottenhits60s.blogspot.com/2016/05/a-very-special-sha-na-na-reunion-and.html
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PLEASE NOTE: Our very popular FIRST 45's Feature has moved to the FORGOTTEN HITS Web Page.
Be sure to check it out here:
Click here: Forgotten Hits - FIRST 45'sClick here: Forgotten Hits - More of Your FIRST 45's
Click here: Forgotten Hits - Even MORE Of Your First 45's
http://www.forgottenhits.com/
Send us your memories of YOUR FIRST 45's ... and then check back to see it published on the web page!
Just drop us an email at: kk@forgottenhits.com
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The Official Sha Na Na Website! Sha Na Na Spotlight
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"Rock 'n' roll has nothing to do with a generation gap any more.
Today, it's really a generation bridge."
Donny York, co-founder, Sha Na Na
A Rock & Roll Celebration
SHA NA NA brings their rock & roll celebration to town in a dynamic, crowd pleasing show that includes highlights of their four decade journey from WOODSTOCK, the movie GREASE, THE SHA NA NA TV SHOW and their world wide concert touring. In an interactive show where the audience sings along, dances along and participates in a Greaser Olympics, a good time is had by all ages. Hey all you greasers, teen angels and party dolls: twist, stroll and hand jive to the classics as performed by the crowned princes of doo-wop and rock & roll, Sha Na Na.
Sha Na Na bio
Sha Na Na may not have invented rock nostalgia, but the group has successfully very successfully celebrated the music and the memories for the past four decades in concert, in the movies and on TV, and on record.
Sha Na Nas story is an all-encompassing one: they were in the original Woodstock Festival lineup, starred in Grease, hosted the Sha Na Na TV series for four years, and still play more than 50 concerts a year, from state fairs, performing art centers, casino showrooms to mega corporate functions world wide.
And through it all flower power, hard rock, metal music, disco, hip hop, rap and more Sha Na Na remains true to the original concept: rock & roll is here to stay!
The Sha Na Na story begins oddly for a group that, in appearance, runs the gamut from greaser to gold lame. Attired in turtleneck and blue blazers, the nucleus of Sha Na Na were undergraduate members of The Kingsmen, a glee club ensemble at New Yorks Columbia University that used to perform a cappella versions of 50s rock songs as part of the performances.
These proved very popular and eventually rock & roll took over, instruments were added and Sha Na Na the name comes from the 50s Silhouettes hit, Get A Job was born.
Heard of Woodstock?...
If the original 1969 Woodstock Festival was a defining moment in rock history, it was also a defining moment in the history of Sha Na Na. The groups appearance only the eighth in Sha Na Nas career, followed by the Woodstock album and movie, cemented their reputation and style. We went on second to last, at sunrise on the final day, but, importantly, just before Jimi Hendrix, recalls co-founder, drummer Jocko Marcellino. We did 40 minutes and were paid $350 and the check bounced!
Sha Na Na was the only group at Woodstock without a record deal. Immediately afterwards, they had one and today the group has released eighteen albums in total, with worldwide sales of more than 20 million.
TV was another important step for the group
The group taped 97 episodes of the Sha Na Na music variety shows from 1977 to 1981 that were seen and still can be in worldwide syndication. The shows, which featured Sha Na Nas music, plus the group in comedy skits with special guests, further established the groups credentials as a part of the landscape of rock & roll America.
GREASE is still the word for Sha Na Na
Grease: The Movie became another significant building block in the Sha Na Na story. The group appeared in the 1979 musical, as Johnny Casino and the Gamblers, and contributed to the music score with six Sha Na Na versions of rock classics and one original song, Sandy, co-written by Screamin Scott Simon for John Travolta to sing. (Between takes, Travolta also sang a little doo-wop with the group.)
The accompanying Grease soundtrack album was a major hit, Grammy-nominated and certified eight times platinum.
Recalls Marcellino: Whole new generations get swept up in the nostalgia craze, effectively becoming our potential audience.
For example, Sha Na Na played the immense Los Angeles County Fair in front of a special audience 20,000 girl scouts! They were too young to have seen our TV show, but they had seen Grease on video. They knew the words to every song from the movie.
Sha Na Na recently rocked The Hollywood Bowl at this year's Grease Sing A-Long presented by The Los Angeles Philharmonic hosted by Didi Frenchy Conn with special guest drummer Dave Grohl of the Foo Fighters. A Hollywood Bowl tradition, the event celebrated the 35th Anniversary of the beloved Grease film, the highest grossing musical film of all time.
Live in concert .
Working for over four decades throughout the world Sha Na Na has performed worldwide: from Carnegie Hall to the Grand Ole Opry, in Asia and in Africa, London to Tokyo. They have had some interesting newcomers opening for their show, such as: Bruce Springsteen, Billy Joel, Billy Crystal, Steve Martin and Jay Leno!
Live performances remain at the heart of Sha Na Na. Whether it is those girl scouts or their baby boomer parents, the reaction to the group is the same the discovery of a common joy in the music from a time when part of the world was greased and ready to
rock.
Sha Na Na Rocks with Symphony Orchestras
As well as stints with MARVIN HAMLISCH conducting THE SEATTLE SYMPHONY, THE PITTSBURGH SYMPHONY, and THE MILWAUKEE SYMPHONY, Sha Na Na has made multiple appearances with PETER NERO & PHILLY POPS, THE COLUMBUS, LOUISVILLE, and PHOENIX symphonies.
Sha Na Na also appeared on The PBS Special A CAPITOL FOURTH with the National Symphony and Choir at the Capital Fourth Celebration in Washington, D.C. The special brought the sights and sounds of the symphony performance to a nationwide audience.
The arrangements for up to a seventy- six-piece orchestra range from the staccato strings of Rhythm of the Rain, a lush rhythm and blues wall of sound for Soul and Inspiration and a swinging arrangement of Rock & Roll is Here to Stay.
Of course Sha Na Na invites the orchestras to lose their tuxedo jackets, open their collars and roll up their sleeves. That, that is, to get greased and ready to rock & roll.
Sha Na Na recordings
Their latest release, "SHA NA NA GREASER HIGH SCHOOL HOP features 25 signature songs perfect for an instant high school hop dance party. "The Bop," "The Twist," "The Stroll," "The Hand Jive," "The Monkey," "The Jerk," "The Cha Cha" and even "The Hokey Pokey" are amongst the great dances of the 50s and 60s celebrated by Sha Na Na in this collection. Also included are songs they sang in Grease ("Sandy", "Rock & Roll is Here to Stay"), The Sha Na Na TV Show ("Rock & Roll Hall of Fame," "You Cant Sit Down") and at Woodstock ("At The Hop").
Also in the Sha Na Na catalogue: SHA NA NA 40TH ANNIVERSARY COLLECTORS EDITION, ROCK & ROLL DANCE PARTY, ROCKIN CHRISTMAS (with Santas On A Diet, Blue Christmas and The Rockin Dreidel Song) and Sha Na Nas first completely original Rock & Roll and doo-wop c.d., ONE MORE SATURDAY NIGHT. Sha Na Na CDs are available at iTunes and Amazon.
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https://www.wikidata.org/wiki/Q2164074
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Sha Na Na
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American rock and roll cover band
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https://concerts.yapsody.com/concerts/artist/sha-na-na/
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Artist booking by Yapsody - Best Talent Booking Company
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Book Sha Na Na for your next concert, festival and casino live-entertainment programs with Yapsody - the top talent buying and artist booking agency in the USA
|
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Yapsody
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https://concerts.yapsody.com/concerts/artist/sha-na-na/
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Sha Na Na - Our Recent Artist Bookings
Sha Na Na has been booked by Yapsody on behalf of some of our leading clients in the United States for their live entertainment programs.
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https://theworld.org/stories/2019/08/15/sha-na-na-woodstock-s-most-unlikely-act
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Sha Na Na, Woodstock’s most unlikely act
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2019-08-15T00:00:00
|
How an Ivy League a cappella group opened for Hendrix and started a ‘50s nostalgia wave.
|
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/images/apple-touch-icon.png
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The World from PRX
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https://theworld.org/stories/2019/08/15/sha-na-na-woodstock-s-most-unlikely-act
|
Looking back 50 years later, possibly the strangest moment of the three-day Woodstock festival was the performance by Sha Na Na. Decked out in leather jackets and gold lamé suits, the 12-piece ensemble played amped-up covers of ‘50s and early ‘60s rock ‘n’ roll hits, complete with choreographed dance.
Next to the psychedelic sounds of Jimi Hendrix and Jefferson Airplane, this campy retro cover band seems utterly incongruous. Sha Na Na’s inclusion at Woodstock is even stranger given that they didn’t have a record out — and that they were, in fact, a bunch of Ivy League undergrads in an a cappella group.
youtube://v/6WuS3H6TT0A
In 1969, Columbia University was still reeling from the massive student protests that had divided the campus the previous school year. “It was like the Civil War, only on campus,” George Leonard says, a grad student at the time, “where people who had been pals and worn beanies together in freshman year were now really beating each other up on sight.”
But he had a surprising strategy for unifying the students — appeal to their collective nostalgia. Leonard transformed the Columbia Kingsmen, his younger brother Robert’s a capella group, into a theatrical ‘50s revival band. “We were a vaudeville act,” Robert Leonard says. “We were a music hall act. I mean, intricate choreography — this highly stylized thing. George choreographed every emotion, every hand movement.”
youtube://v/i8B6qCK9b3c
Newly christened Sha Na Na, the group became a popular live act. Within months of their first gig, they were recruited to play Woodstock, going on right before Jimi Hendrix. Sha Na Na’s performance there seemed to kick off a wave of 1950s nostalgia in American pop culture, including “Grease,” “American Graffiti” and “Happy Days.”
youtube://v/zFOoX02TERA
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Sha Na Na’s ‘Bowzer’ Bauman strikes a pose in Portland, on tour to protect safety net for seniors
|
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[
""
] | null |
[
"MWC Bot",
"Ray Routhier Press Herald",
"Ray Routhier"
] |
2017-01-18T00:00:00
|
The vocalist stops in Maine as part of his political side gig – urging people to take action against any efforts to weaken Medicare, Medicaid or Social Security.
|
Press Herald
|
https://www.pressherald.com/2017/01/18/jon-bowzer-bauman-strikes-a-pose-in-portland-calls-for-protecting-senior-citizen-safety-net/
|
Jon Bauman stood in front of about 40 people gathered at a “Hands Off Medicare” rally Wednesday and said his reason for joining their fight involved singing “Rama Lama Ding Dong” at Carnegie Hall in the early 1970s.
“I was classically trained on the piano, but when I got to Carnegie Hall it was (for) singing rock ‘n’ roll,” said Bauman, 69, bass singer of the group Sha Na Na. “But to my mother, it didn’t matter how I made it. She was there, the only one in the audience standing, yelling ‘Jonathan, you made it.’ She is the reason I’m here today. Her quality of life (as a senior citizen) was so much greater than anything my grandparents experienced, because of Social Security and Medicare.”
Bauman, known as “Bowzer” when he sings, runs a California-based political action committee called “Senior Votes Count.” He was at the First Parish Church in Portland on Wednesday with representatives from the Washington, D.C., group Social Security Works.
They made Maine their first stop on a tour of about 10 states, asking people to call their senators and representatives in Congress and urge them to vote against any proposals by Republican leaders to weaken Medicare – particularly Sen. Susan Collins, a Republican who has said she has some reservations about such changes.
Bauman talked to the group for about half an hour, using the goofiness of his “Bowzer” persona to make some points, but sounding like the activist he is when talking about how Congress works and the power of grassroots organizing.
He struck his trademark “Bowzer” pose – right arm up, bicep flexed, mouth wide open – and told the audience “that’s what we’re all gonna look like” once the fight to save Medicare is over.
“Can you believe I’ve made a living for more than 45 years doing this?” he said after striking the flamboyant pose. “God bless America.”
‘I DON’T WANT TO GO BACK’
Bauman gained famed in the late 1960s and 1970s with Sha Na Na, which performed rock ‘n’ roll songs from the 1950s and early 60s. With slicked-back hair, rolled-up blue jeans and gold lamé jackets, the group at once celebrated and lampooned 1950s America and spawned a long second wave of popularity for the era’s music. Sha Na Na appeared at the famed Woodstock music festival in 1969 and in the 1978 film “Grease.” The group also had its own syndicated TV show from 1977 to 1981.
The band’s name comes from the refrain of the 1957 Silhouettes’ doo-wop hit “Get a Job.”
“You know me as somebody who really loves the music of the 1950s and ’60s, but I don’t want to go back to the 1950s,” Bauman said Wednesday, wearing a blue suit and necktie. “Before Medicare took effect in 1965, about 35 percent of all seniors lived in poverty.”
“Bowzer” Bauman plays “Clair de Lune”
After he left Sha Na Na in the mid-1980s, Bauman hosted TV game shows, including a version of “Hollywood Squares.” In recent years he’s hosted several old-time rock ‘n’ roll specials on PBS. Bauman continues to tour with his “Bowzer’s Rock ‘N’ Doo-Wop Party” shows. He did one Sunday at the Mohegan Sun casino resort in Connecticut, along with Freddy “Boom Boom” Cannon, Lou Christie and The Flamingos.
AN INTEREST IN SOCIAL ISSUES
A native of New York City, Bauman played piano as a youngster and attended the Juilliard School. He majored in music at Columbia University but was always interested in politics and social issues. He thinks Sha Na Na became popular in the politically turbulent ’60s and ’70s because a generation of Baby Boomers felt a need to “go back to the music of their childhood.”
But Bauman didn’t become politically active until after the 2000 presidential election. Because the election of George W. Bush was so close and left the nation so divided, Bauman decided he “couldn’t sit out another election.” He began working seriously as an advocate for senior citizens around 2004. By then, he said, his two children were grown, and he and his wife of 46 years had more time to do other things.
Although the crowd Wednesday applauded when he struck his “Bowzer” pose and when he played a couple classical selections on the piano, most didn’t come because of Bauman’s fame. They came because of the issue he is working for. Several said they were impressed with his grasp of the issues.
“I just want to be involved,” he told the crowd, “the way every American should be involved in what’s going on.”
Ray Routhier can be contacted at 791-6454 or at:
rrouthier@pressherald.com
|
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8788
|
dbpedia
|
0
| 71
|
https://www.wmbfnews.com/2024/03/12/you-can-see-johnny-contardo-sha-na-na-grease-live-myrtle-beach-high-school-music-arts-center/
|
en
|
You can see Johnny Contardo from “Sha Na Na” and “Grease” live at the Myrtle Beach High School Music & Arts Center
|
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[
""
] | null |
[
"TJ Ross"
] |
2024-03-12T00:00:00
|
Get ready to groove to the timeless hits that defined a generation.
|
en
|
//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/wmbf/favicon.ico?d=427
|
https://www.wmbfnews.com
|
https://www.wmbfnews.com/2024/03/12/you-can-see-johnny-contardo-sha-na-na-grease-live-myrtle-beach-high-school-music-arts-center/
|
MYRTLE BEACH, SC (WMBF) - Get ready for an unforgettable evening of rock ‘n’ roll Classics with Johnny Contardo!
From iconic ballads to high-energy anthems, Johnny will transport you back to the Golden Era of rock music.
Whether you’re a long time fan since Sha Na Na and Grease or new to his music, this event promises to be a night to remember.
Johnny will bring back many of those musical memories as you travel back in time just for a little while.
Don’t miss him April 13th @ 7:00PM at the Myrtle Beach High School Music & Arts Center.
This performance will benefit Loris Senior Center with the Horry County Council on Aging.
10% of the proceeds from this performance will go directly to the Loris Senior Center.
Get your tickets today here!
|
||||
8788
|
dbpedia
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2
| 68
|
https://shananatv.wordpress.com/2013/07/22/rock-n-roll-sports-classic-1978/
|
en
|
Rock ‘n’ Roll Sports Classic (1978)
|
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2013-07-22T00:00:00
|
Bear with me. You might think this has nothing to do with Sha Na Na, but it does. In addition to the show itself, I'm also interested in other appearances the TV-Ten were making during this period. A few weeks ago, I wrote about Pierre Cossette's involvement with sports entertainment shows. Along with musical variety…
|
en
|
https://s1.wp.com/i/favicon.ico
|
The Sha Na Na TV Show Guide
|
https://shananatv.wordpress.com/2013/07/22/rock-n-roll-sports-classic-1978/
|
Bear with me. You might think this has nothing to do with Sha Na Na, but it does. In addition to the show itself, I’m also interested in other appearances the TV-Ten were making during this period.
A few weeks ago, I wrote about Pierre Cossette’s involvement with sports entertainment shows. Along with musical variety shows, these shows also seemed to be a staple of the ’70s. I’m not just talking about the random potpourri of athletes, musicians, singers, comedians, actors and the occasional brother of the President of the United States appearing together at the Super Dome, I’m talking about actual Olympic-style events carried out by celebrity non-athletes. Today, of course, we have something along those lines with competition shows like Dancing with the Stars and Splash, but they’re really not the same. I know they have their fans, but half of the celebrities that appear on these shows are more of the reality-show or famous-for-being-famous type, and as a result, leave me to not care much about them.
That said, if you were around in the mid-70s, you most likely remember Battle of the Network Stars. Like me, you may have also cared about it. To us kids, it was must-see TV and we’d gather in one of the neighborhood living rooms to cheer on our favorite TV stars and/or major television network. It didn’t really matter if you were a sports fan or not, because the games themselves were pretty entertaining. Who wouldn’t want to watch teams compete in a water-relay with inflatable kayaks which seemed to move backwards and sideways more than forward, or a large-scale game of Simon Says called by a Catskills comedian? The show actually ran from 1976 until 1988, but the first few years were the best, and it will always symbolize the 70s for me. You can still catch reruns on ESPN Classic.
Anyway, Battle of the Network Stars was so popular in those first years that the idea spun off into other formats featuring such ideas as TV stars performing circus acts (Circus of the Stars) and Olympic sports with cartoons characters (Scooby-Doo’s Laff-a-Lympics). That brings me to the Rock ‘n’ Roll Sports Classic. Being a fan of Battle of the Network Stars, I remember seeing this in its original run and being really excited about it. The cast of participants was amazing, and yes, Sha Na Na was there. Additionally, there were some really major musical acts appearing. Basically, like “Battle” the participants were divided up into teams, in this case, East versus West.
On the East team you had:
Sha Na Na
The Jacksons (and not just the Jackson 5, but LaToya and Janet are there too)
Boston
ELO
Marilyn McCoo & Billy Davis
Gladys Knight & The Pips
Anne Murray
Alessi Brothers
Helen Schneider
captain Phyllis Diller
co-captain Susan Anton
On the West:
Rod Stewart
The Commodores
Earth, Wind and Fire
Kenny Loggins
The Runaways
Freddie Fender
Tanya Tucker
Leif Garrett
Seals & Croft
captain Sandy Duncan
co-captain Barbie Benton
Not too shabby. On top of that you had the following:
host Alex Karras
co-host Ed McMahon
correspondent Michelle Phillips
correspondent Kristy McNichol
announcer Fred Travelina
The Dallas Cowboy Cheerleaders
The teams gathered at the University of California Irvine for 20 mostly track and field and swimming events to compete for trophies by Cartier and whatever proceeds made going to college scholarships.
A lot of the musicians actually turn out to be pretty good athletes. Marlon Jackson, Kenny Loggins and the Runaways–particularly Joan Jett and Sandy West–are very impressive. The problem is, no one seems to be having a lot of fun. At least not in the beginning. Yeah, there are some smiles, mostly from the winners, but the overcast skies aren’t the only thing putting a damper on the festivities. Maybe I’m not being fair, but you get the sense that most of them didn’t want to be there, and too often these events seem like a job that needs to be done. In fact, with how little you see Rod Stewart, you get the feeling he just popped by late in the afternoon to kick a ball around and go for a quick run before calling it a day.
Luckily, Sha Na Na turns out to be the show’s saving grace–in my opinion, at least. Not only did they perform admirably (Santini, Screamin’ and Chico are greased lightning on the track), but they brought the fun, and it was infectious. No matter the competition, they’re clearly not taking it all too seriously and have no problem parodying themselves to lighten the mood. According to Santini, as the day went by, the show’s directors were coming to the band to get more schtick on film. On top of that, you can see a team camaraderie between Sha Na Na and the Jacksons on the East that bring some more glimpses of fun when the team members are together. Eventually, the other musicians appear to lighten up as well. Props to Phyllis Diller for also bringing the comedy, but you have to feel for her because her one liners to Alex Karras and the other correspondents seem to go over their heads.
With that lengthy introduction, below are some stills highlighing Sha Na Na’s involvement in the one and only “Rock-n-Roll Sports Classic”. One and only, because I don’t think anyone wanted to go through this again.
Sha Na Na shows the Dallas Cowboy Cheerleaders a thing or two with their own cheers.
The boys line up for the team hurdle relay.
Chico is off to a great start.
Line up for the somethingsomething dash.
Oh, there was a basketball game with Santini, Johnny, Denny and the Jacksons. No idea who won but the rest of the guys cheered them on.
Santini shines in the men’s relay, winning it for Team East.
Bowzer demonstrates one of his own sports for greasers, which includes muscle-flexing and endurance mouth-opening.
Lennie explains how he came in last in the marathon walk against Freddy Fender.
But everyone loves Lennie, and they cheer him up with a song.
Donny prepares for the team long jump, shades and all.
BI-cycle, BI-cycle…race.
Johnny fights for first place.
The gang get into the men & women’s relay.
There was fun and games off the field as well (although, I really wished Denny had whacked Leif with that towel).
Finally, the East won with best out of three in the tug-of-war.
All in all, the Rock ‘n’ Roll Sports Classic could never compete with Battle of the Network Stars, but it’s one of those things that could only happen in the 70s. Which, as you can probably tell, was probably for the best.
|
||||
8788
|
dbpedia
|
3
| 49
|
https://dereksmusicblog.com/2017/12/30/sha-na-na-from-the-streets-of-new-york-hot-sox-and-sha-na-now/
|
en
|
SHA NA NA-FROM THE STREETS OF NEW YORK, HOT SOX AND SHA NA NOW.
|
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2017-12-30T00:00:00
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Sha Na Na-From The Streets Of New York, Hot Sox and Sha Na Now. Label: BGO Records. By 1973, Sha Na Na had been together fourteen years, released four albums and played at the Woodstock Music and Arts Fair on Sunday, August the ‘17th’ 1969. That night, Sha Na Na played a barnstorming thirty-minute set in front…
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https://s1.wp.com/i/favicon.ico
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dereksmusicblog
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https://dereksmusicblog.com/2017/12/30/sha-na-na-from-the-streets-of-new-york-hot-sox-and-sha-na-now/
|
Sha Na Na-From The Streets Of New York, Hot Sox and Sha Na Now.
Label: BGO Records.
By 1973, Sha Na Na had been together fourteen years, released four albums and played at the Woodstock Music and Arts Fair on Sunday, August the ‘17th’ 1969. That night, Sha Na Na played a barnstorming thirty-minute set in front of 400,000 people. This was the biggest concert of Sha Na Na’s career, who billed themselves as a group: “from the streets of New York.” They were also the antithesis of many of the groups on the bill at he Woodstock Music and Arts Fair. Despite that they had won over the crowd with their music which was a mixture of fifties rock ’n’ roll and doo woo. However, for many in the crowd, Sha Na Na were merely the warmup for Jimi Hendrix, who topped the bill.
When Jimi Hendrix took to the stage that night, he made musical history with what was a musical masterclass from one of the greatest guitarists of his generation. Suddenly, Jimi Hendrix had overshadowed everything that had gone before at the Woodstock Music and Arts Fair.
Despite that, Sha Na Na’s appearance at the Woodstock Music and Arts Fair lifted their profile and over the next couple of years, they continued to play some of the biggest music venues in America. They played at the Fillmore East and Fillmore West, where they opened for the Grateful Dead, the Mothers of Invention, and The Kinks. Then in 1972, Sha Na Na were one of just four groups to be invited by John Lennon and Yoko Ono at their One-To-One Benefit Concert in Madison Square Garden. This showed just highly regarded Sha Na Na were by their contemporaries and peers.
Sha Na Na-From The Streets Of New York.
Four years after their appearance at the Woodstock Music and Arts Fair, Sha Na Na were preparing to take to the stage at Central Park, in New York on the ‘29th’ August 1973. At the side of the stage was a mobile recording studio which was about to record the concert, which was released later in 1973 as Sha Na Na-From The Streets Of New York. It’s one of three tracks on a two CD set released by BGO Records. Sha Na Na-From The Streets Of New York is joined by Hot Sox and Sha Na Now and these three albums are a reminder of a unique group: “from the streets of New York.”
It made sense for Sha Na Na to record Sha Na Na-From The Streets Of New York, which was the second live album of their career. Their debut album Rock and Roll Is Here To Stay was a live album, and found favour with critics and reached the lower reaches of the US Billboard 200. Sha Na Na hoped that they could replicate a similar performance at Central Park.
When Sha Na Na took to the stage at Central Park the tapes were running, and they worked their way through twelve songs, that are best described as a memorable album of good time rock ’n’ roll. Among the highlights were The Wanderer, Ring Around Your Neck, Sh-Boom (Life Could Be A Dream), Summertime Summertime and Goodnight Sweetheart which closed the set. For some in the audience, the dance contest medley of Yogi, Cherry Pink and Apple Blossom White and Long Tall Sally was another of the highlights of the show which became Sha Na Na-From The Streets Of New York.
Although the concert was held on the ‘29th’ August 1973, the Kama Sutra label still managed to have Sha Na Na-From The Streets Of New York released before the end of 1973. While critics were won over by Sha Na Na’s unique brand of good time rock ’n’ roll, Sha Na Na-From The Streets Of New York failed to find an audience and never troubled the US Billboard 200. This was a disappointment for Sha Na Na who were hoping that Sha Na Na-From The Streets Of New York would introduce their music to a new audience.
Hot Sox.
Despite the commercial failure of Sha Na Na-From The Streets Of New York, Sha Na Na began working on their next album Hot Sox. Sha Na Na hoped that this would be their breakthrough album. They were a popular live band, but their first five albums hadn’t sold particularly successful. Maybe Hot Sox would be a game-changers?
Sha Na Na’s drummer John Marcellino wrote Stroll All Night and Too Chubby To Boogie, which joined nine cover versions on the albums. This included Alan Gordon’s Maybe I’m Old Fashioned, Bob Hamilton and Freddie Gorman’s (Just Like) Romeo And Juliet, Larry Huff and William Linton’s Easier Said Than Done, Joe Jones and Reginald Hall’s You Talk Too Much, Lil Hardin-Armstrong’s Bad Boy and Huey “Piano” Smith’s Don’t You Just Know It which was joined by Sh-Boom (Life Could Be A Dream). These were some of the tracks that Sha Na Na recorded at three studios.
Recording of Hot Sox was split between the Record Plant and A&R Studios in New York and Soundstage, in Toronto. That was where Sha Na Na recorded the eleven tracks with producer Jack Douglas that became their sixth album.
Just like their previous albums, Sha Na Na combined fifties rock ’n’ roll and doo wop on Hot Sox which was released by the Kama Sutra label in 1974. By then, many people regarded Sha Na Na as live group, which was when the group came alive. Proof of that were their two live albums they had already released Rock and Roll Is Here To Stay and From The Streets Of New York. However, many bands who shawn in a live environment, struggled to replicate their performances in the studio.
Some bands saw recording an album as the pursuit of perfection, which wasn’t what they were about. Their adrenaline fuelled performances were a mixture of energy and enthusiasm, and sometimes, were warts and all. That was the way that Sha Na Na worked, and when they entered the studio felt that they lost the spontaneity and energy of their live shows. Especially, when there were multiple takes of songs. This could be soul-destroying, as this wasn’t the way Sha Na Na worked. They were the polar opposite of groups like Steely Dan.
Despite not being as comfortable in the studio, Sha Na Na’s new album Hot Sox, was another enjoyable and memorable album Full of catchy and familiar songs including Maybe I’m Old Fashioned, Just Like) Romeo And Juliet, Easier Said Than Done, Sh-Boom (Life Could Be A Dream), You Talk Too Much and Don’t You Just Know transporting the listener back to another musical age. It was like being transported back to the fifties, when music was very different. However, that was the problem.
Sha Na Na’s music was the polar opposite of everything that was being released in 1974. By then, progressive rock, psychedelia, Philly Soul and the hard rocking sound of Black Sabbath and Led Zeppelin was filling the charts. There was no room at the inn for Sha Na Na’s new album Hot Sox, which failed to trouble the charts. Still Sha Na Na were looking for their breakthrough album.
Sha Na Now.
Following the release of Hot Sox, returned to playing live, but knew that they would soon be back in the studio to record their next album. Somehow, Sha Na Na had to replicate their live show in the studio and get their musical message across on what became Sha Na Now.
Maybe the problem was that Sha Na Na had been working with the wrong producers, and needed someone who could relate to the band and their music? Jack Douglas who produced Hot Sax was a well-respected and successful producer, but maybe he wasn’t the right person to bring out the best in the band. He didn’t return to produce Sha Na Now.
Replacing Jack Douglas was songwriter, arranger, orchestrator and producer Tony Camillo who had worked at Motown and then with the Holland-Dozier-Holland production team on their Invictus and Hot Wax labels. He had produced soul and funk and worked on B-Movies and Blaxploitation films. Tony Camillo would produce Sha Na Now and penned Circles Of Love and cowrote Sha Bumpin’ with Pam Sawyer.
With producer Tony Camillo onboard, Sha Na Na began on work on Sha Na Now. This time around, drummer John Marcellino contributed just the one track, Chills In My Spine. It joined the two contributed by Tony Camillo and covers of Runaway, Laughter In The Rain, Basement Party and (Just Like) Romeo and Juliet. They were joined by Claudine Clark’s Party Lights., Al Lawrence and Bruce Foster’s Shot Down In Denver, Geoff Stephens and Tony Macaulay’s You’re The Only Light On My Horizon Now. These tracks found their way onto Sha Na Now.
Previously, Sha Na Na had worked at some of the top studios in New York and Toronto, but for Sha Na Now the group made their way to Tony Camillo and Tony Bongiovi’s Venture Sound Studios, in New Jersey. Away from the spotlight that was shawn on bands at top studios, Sha Na Na suddenly found their voice and began to replicate their live sound. They became a new band during the recording Sha Na Now which was the studio album they knew they were capable of recording.
Once Sha Na Now was complete, the Kama Sutra label scheduled the release of the album for 1975. Critics on hearing the album, hailed it their finest studio album. That was no surprise as the production was better and the songs were much slicker, melodic and irresistibly catchy as Sha Na Na showcased their trademark harmonies. From the opening bars of Shot Down In Denver to the closing notes of Circles Of Love it was quality all the way. Especially during the covers of Runaway, Basement Party, (Just Like) Romeo and Juliet and Don’t Want To say Goodbye. Producer Tony Camillo’s contributions Sha Bumpin’ and Circles Of Love were tailor-made for Sha Na Na. So was John Marcellino’s Chills In My Spine. However, it was the cover of Breaking Up Is Hard To Do that was the highlight of Sha Na Now, which was the best albumin Sha Na Na’s career so far.
Despite the quality of Sha Na Now, the album failed to chart upon its release in 1975. History had a habit of repeating itself when it came to Sha Na Na’s albums. This was just the latest disappointment for the group: “from the streets of New York.”
Sadly, had record buyers missed out on what was Sha Na Na’s finest studio album, Sha Na Now when it was released in 1975. This was nothing new, and between 1973 and 1975, From The Streets Of New York, Hot Sox and Sha Na Now passed record by. These three albums were recently remastered and rereleased by BGO Records, and the perfect introduction to Sha Na Na’s music.
From The Streets Of New York is Sha Na Na’s second live album, and is an irresistible reminder of doing what they do best, playing live. Hot Sox which was produced by Jack Douglas was an enjoyable and memorable album of cover versions and a couple of new songs, where Sha Na Na continue to hone their studio sound. They come of age on Sha Na Now which was slick, melodic and featured irresistible catchy music. Sadly, record buyers continued to overlook Sha Na Na’s albums music. However, that was about to change.
Between 1977 and 1982 Sha Na Na had their own television show in America, and became household names singing songs from the fifties and sixties. This nostalgia was hugely popular amongst the baby boomers, who remembered the music from the first time around. It also found a new audience amongst a younger generation, who had never heard the music before, and hearing Sha Na Na was part of their musical education. However, in 1978, millions of music fans heard Sha Na Na.
When the film Grease was released in 1978, members of Sha Na Na sang seventeen of the twenty-four songs that featured on the soundtrack. The Grease soundtrack sold twenty-eight million copies, and prompted a rock ’n’ roll revival. Meanwhile, Sha Na Na’s star was in the ascendancy partly because of their appearance on the Grease soundtrack, and because of their television show. At last, Sha Na Na, the group: “from the streets of New York”, were receiving the recognition they deserved, after albums like From The Streets Of New York, Hot Sox and Sha Na Now failed to find the audience they deserved.
|
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https://www.facebook.com/backstagepasswithjeffsenour/videos/sha-na-na-drummer-jocko-marcellino-and-jeff-senour/184794185757990/
|
en
|
Join Jeff on Backstage Pass and meet a rock legend. Meet Jocko Marcellino, drummer of Sha Na Na. As the 50th Anniversary of Woodstock approaches, Jocko...
|
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[
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] | null |
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Join Jeff on Backstage Pass and meet a rock legend. Meet Jocko Marcellino, drummer of Sha Na Na. As the 50th Anniversary of Woodstock approaches, Jocko...
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/backstagepasswithjeffsenour/videos/sha-na-na-drummer-jocko-marcellino-and-jeff-senour/184794185757990/
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|
https://www.centralmaine.com/2017/01/18/sha-na-nas-bowzer-bauman-strikes-a-pose-in-portland-on-tour-to-protect-safety-net-for-seniors/
|
en
|
Sha Na Na’s ‘Bowzer’ Bauman strikes a pose in Portland, on tour to protect safety net for seniors
|
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"Ray Routhier Press Herald",
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2017-01-18T00:00:00
|
The vocalist stops in Maine as part of his political side gig – urging people to take action against any efforts to weaken Medicare, Medicaid or Social Security.
|
Kennebec Journal and Morning Sentinel
|
https://www.centralmaine.com/2017/01/18/sha-na-nas-bowzer-bauman-strikes-a-pose-in-portland-on-tour-to-protect-safety-net-for-seniors/
|
Jon Bauman stood in front of about 40 people gathered at a “Hands Off Medicare” rally Wednesday and said his reason for joining their fight involved singing “Rama Lama Ding Dong” at Carnegie Hall in the early 1970s.
“I was classically trained on the piano, but when I got to Carnegie Hall it was (for) singing rock ‘n’ roll,” said Bauman, 69, bass singer of the group Sha Na Na. “But to my mother, it didn’t matter how I made it. She was there, the only one in the audience standing, yelling ‘Jonathan, you made it.’ She is the reason I’m here today. Her quality of life (as a senior citizen) was so much greater than anything my grandparents experienced, because of Social Security and Medicare.”
Bauman, known as “Bowzer” when he sings, runs a California-based political action committee called “Senior Votes Count.” He was at the First Parish Church in Portland on Wednesday with representatives from the Washington, D.C., group Social Security Works.
They made Maine their first stop on a tour of about 10 states, asking people to call their senators and representatives in Congress and urge them to vote against any proposals by Republican leaders to weaken Medicare – particularly Sen. Susan Collins, a Republican who has said she has some reservations about such changes.
Bauman talked to the group for about half an hour, using the goofiness of his “Bowzer” persona to make some points, but sounding like the activist he is when talking about how Congress works and the power of grassroots organizing.
He struck his trademark “Bowzer” pose – right arm up, bicep flexed, mouth wide open – and told the audience “that’s what we’re all gonna look like” once the fight to save Medicare is over.
“Can you believe I’ve made a living for more than 45 years doing this?” he said after striking the flamboyant pose. “God bless America.”
‘I DON’T WANT TO GO BACK’
Bauman gained famed in the late 1960s and 1970s with Sha Na Na, which performed rock ‘n’ roll songs from the 1950s and early 60s. With slicked-back hair, rolled-up blue jeans and gold lamé jackets, the group at once celebrated and lampooned 1950s America and spawned a long second wave of popularity for the era’s music. Sha Na Na appeared at the famed Woodstock music festival in 1969 and in the 1978 film “Grease.” The group also had its own syndicated TV show from 1977 to 1981.
The band’s name comes from the refrain of the 1957 Silhouettes’ doo-wop hit “Get a Job.”
“You know me as somebody who really loves the music of the 1950s and ’60s, but I don’t want to go back to the 1950s,” Bauman said Wednesday, wearing a blue suit and necktie. “Before Medicare took effect in 1965, about 35 percent of all seniors lived in poverty.”
“Bowzer” Bauman plays “Clair de Lune”
After he left Sha Na Na in the mid-1980s, Bauman hosted TV game shows, including a version of “Hollywood Squares.” In recent years he’s hosted several old-time rock ‘n’ roll specials on PBS. Bauman continues to tour with his “Bowzer’s Rock ‘N’ Doo-Wop Party” shows. He did one Sunday at the Mohegan Sun casino resort in Connecticut, along with Freddy “Boom Boom” Cannon, Lou Christie and The Flamingos.
AN INTEREST IN SOCIAL ISSUES
A native of New York City, Bauman played piano as a youngster and attended the Juilliard School. He majored in music at Columbia University but was always interested in politics and social issues. He thinks Sha Na Na became popular in the politically turbulent ’60s and ’70s because a generation of Baby Boomers felt a need to “go back to the music of their childhood.”
But Bauman didn’t become politically active until after the 2000 presidential election. Because the election of George W. Bush was so close and left the nation so divided, Bauman decided he “couldn’t sit out another election.” He began working seriously as an advocate for senior citizens around 2004. By then, he said, his two children were grown, and he and his wife of 46 years had more time to do other things.
Although the crowd Wednesday applauded when he struck his “Bowzer” pose and when he played a couple classical selections on the piano, most didn’t come because of Bauman’s fame. They came because of the issue he is working for. Several said they were impressed with his grasp of the issues.
“I just want to be involved,” he told the crowd, “the way every American should be involved in what’s going on.”
Ray Routhier can be contacted at 791-6454 or at:
rrouthier@pressherald.com
|
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https://www.wikidata.org/wiki/Q2164074
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Sha Na Na
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American rock and roll cover band
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Sha Na Na founder helps hunt criminals
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2006-05-04T18:24:42+00:00
|
Bassist now specializes in forensic linguistics
|
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|
As he walks to the stage of a Hofstra University lecture hall, Robert Leonard’s attire is every bit the college professor: blue blazer and shirt, charcoal slacks, yellow tie, glasses.
He’s a long, long way from the summer of 1969 when the uniform of the day was a gold lame jumpsuit. Leonard was a founding member and bassist for Sha Na Na, a zany doo-wop group that played one of its first gigs at Woodstock.
Leonard’s specialty today is forensic linguistics — employing the science of language to help identify the writers of ransom notes, threatening letters and other correspondence. Leonard directs Hofstra’s forensic linguistics program while also consulting for law firms, advertising agencies, TV networks, police and government agencies.
He recently advised the NYPD in a case where someone was sending threatening letters to celebrity interracial couples and assisted on a Pennsylvania homicide probe.
“To understand law, one must understand language,” Leonard tells a gathering of law enforcement officials at a Hofstra seminar on his techniques.
“Who wrote a ransom note? Who called in a bomb threat? What is the meaning of a phrase in a contract? ... Could a fourth-grade dropout actually have written a confession with the phrase: ‘He approached the vehicle and I raised my weapon?’
“All of these questions address aspects of language.”
People who intentionally try to disguise their identity in ransom notes or threatening letters are usually done in by their own words, Leonard says. The way people speak or write often reflects their age, gender or upbringing.
“Even when people try to disguise their speech, there are still characteristics of their own speech,” Leonard says.
For investigators trained to analyze language, those characteristics serve as verbal fingerprints.
From glee club to ‘Grease’Although he only spent two years as a “rock star,” the 57-year-old Leonard says his involvement with Sha Na Na “really got me into thinking of applying linguistics to legal matters.” The group, which later went on to have a successful TV variety series in the ’70s and appeared in the classic film “Grease,” was formed by Leonard and classmates who performed with the glee club at Columbia University.
“He as much as anyone personified these Ivy League guys doing this theatrical thing,” says “Screamin” Scott Simon, who still tours with Sha Na Na. “Robby performed songs like ‘Teen Angel’ and ‘Tell Laura I Love Her,’ and he really toed the line between satire and playing it straight. He’d fall to his knees and let out one tear. It wasn’t done with a wink or a smirk. He did it straight.
“He really was a defining persona at the start of the group.”
In his current field, Leonard has little opportunity to draw upon his musical roots, although he quoted Paul Simon while instructing law enforcers about interpreting the contents of an audio tape.
“A man hears what he wants to hear and disregards the rest,” says Leonard, citing the lyric from Simon’s “The Boxer.”
Leonard says the invitation to play at Woodstock was engineered in part by one of the festival’s biggest stars.
The group was performing in early 1969 at Steve Paul’s The Scene, a New York City club where bands like the Doors, Pink Floyd and Traffic played. Jimi Hendrix was a regular visitor.
“The whole place was like a small living room and I look up and there’s Jimi Hendrix 10 feet away from me, standing on a chair waving his arms, going, ‘Great, great,”’ Leonard recounts. “He got us booked to Woodstock out of that.”
The band, which played just before Hendrix closed the show in the early hours of an August Monday, also appears in the Oscar-winning documentary about the festival.
“That was truly amazing,” Leonard says. “To go out on stage and see this ocean of people, most of whom thought they were hallucinating: these guys in gold lame jumpsuits and greased back hair.”
Like many of his generation who attended the legendary festival, Leonard’s recollections of the weekend are mixed.
“It was muddy, it was messy, it was awful,” he says, quickly countering, “But it was really wonderful because what they were so proud of at the time, and it’s very true, is they had all those people there and there was no violence. There was no dissent, everybody really was as if they were one tribe.”
He spent two years with the band before being offered a fellowship at Columbia.
It was a difficult decision.
“I wanted to do both, but I was afraid if I stayed in the group I couldn’t do Columbia,” Leonard recalls. “So I said I’ll retire at 21 from the music business. I’ve been on the Johnny Carson show, what more do I need? I’ve been at Woodstock, I’ve drunk with Janis Joplin, and Jimi Hendrix.
“OK, let me go on and go back to school.”
And he still hasn’t left.
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https://www.celebritytalent.net/sampletalent/105/sha-na-na/
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Hire Sha Na Na for a Corporate Event or Performance Booking.
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Sha Na Na booking agent to perform at a corporate event, business party, private function, fair and festival, or celebrity appearance. Learn how to hire Sha Na Na for a pop performance.
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https://www.celebritytalent.net/sampletalent/105/sha-na-na/
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Many performers, actors, speakers and other talent like Sha Na Na in certain cases will consider virtual appearances via live streaming. They perhaps may accept lower fees too. If you are seriously interested in booking Sha Na Na or other talent shown on our site, we will research their desire and the specific fee for your live-streaming event or project request.
Sha Na Na's current work schedule and location in relation to your event's type, date, budget, and locality will play a primary factor in the acceptance of booking Sha Na Na for your party. As long as your funding is commensurate with the price range to book Sha Na Na, CTI will propose your event to the official agency representing Sha Na Na. After we consult with them, we will provide a personal and accurate quote that includes: final costs, availability, and actual interest in being hired for your specific event or party.
CTI can give you the accurate Sha Na Na booking price once we submit your event details to their camp. "How much does it cost to book Sha Na Na for an event?" is a frequent question we get. The final Sha Na Na booking price is contingent on many variables and the booking fee we may show is based on a range derived from our past experience with what will Sha Na Na charge for an event. An example fee to book Sha Na Na is in the starting range of $15,000-$24,999. However, any recent popularity change would cause a price fluctuation well beyond this example. Also, their speaking fee might be different than the fee shown for the cost to perform or to just appear. Popularity, career stage, along with current demand will cause fluctuations in their speaking price as well. The final booking price may be more than what is shown, but you should at least have a budget within that range for them to consider an appearance, performance or speaking engagement.
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https://en.wikipedia.org/wiki/Sha_Na_Na_(TV_series)
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Sha Na Na (TV series)
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https://en.wikipedia.org/wiki/Sha_Na_Na_(TV_series)
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American TV series or program
Sha Na NaGenreVarietyWritten byGary JacobsStarringCountry of originUnited StatesOriginal languageEnglishNo. of seasons4No. of episodes97ProductionExecutive producerPierre CossetteProducersBernard Rothman and Jack WohlEditorDarryl SuttonRunning time22 minProduction companyPierre Cossette EnterprisesOriginal releaseNetworkSyndicatedRelease1977 ( ) –
1981 (1981)
Sha Na Na is a syndicated television variety series that ran from 1977 to 1981 for a total of 97 episodes,[1] hosted by the popular rock & roll/comedy group of the same name. The show was produced by Pierre Cossette and originally distributed by the Lexington Broadcast Services Company. Each episode ran for 22 minutes. Reruns continued to air in syndication through the 1982-1983 television season, after which the series left most markets.
The show featured the group performing hits from the 1950s and 1960s along with comedy skits along the show's nostalgic theme but with a contemporary twist, with performances from that era's well-known acts as well as popular acts of the 1970s.[citation needed] Among the supporting cast members featured in the series were: Jane Dulo, Pamela Myers, Avery Schreiber, Kenneth Mars and Phil Roth (Season 1); June Gable and Soupy Sales (Seasons 2 to 4); Michael Sklar (Season 2); and Karen Hartman (Season 4).
Cast
[edit]
The members of Sha Na Na during the TV series were Jon "Bowzer" Bauman (Lead vocals, backing vocals), Lennie Baker (Saxophone, lead vocals, backing vocals), Johnny Contardo (Lead vocals, backing vocals), Denny Greene (Lead vocals, backing vocals), Danny "Dirty Dan" McBride (Electric guitar, lead vocals, backing vocals) (left after third season), Jocko Marcellino (Lead vocals, backing vocals, drums), Dave "Chico" Ryan (Lead vocals, backing vocals, bass guitar), "Screamin'" Scott Simon (Piano, lead vocals, backing vocals), Scott "Santini" Powell (Lead vocals, backing vocals), Donald "Donny" York (Lead vocals, backing vocals). Every member was featured with a solo vocal spot during the course of the series.[citation needed] Each was introduced only by his nickname or his first name in a voice-over by Myers at the beginning of each show.[citation needed]
Quotes
[edit]
During the shows' opening after the cast and guests are mentioned Myers kicks off the show by saying "And now, here they are, all greased up and ready to sing their brains out, Sha Na Na!" while Jon "Bowzer" Bauman would close out each show by saying "Good night, and grease for peace!" with Sha Na Na singing "Goodnight, Sweetheart, Goodnight" as their closing theme song. Myers would announce as a disclaimer "This show has been previously recorded," to which was appended sarcastically "so it could be destroyed in time!" On later shows it would be appended with in an equally snarky tone, "Why? I dunno!"
See also
[edit]
Sha Na Na § TV series
References
[edit]
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https://www.thepalacetheatre.org/concerts-events/sha-na-na/
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Sha Na Na – The Palace Theatre
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https://www.thepalacetheatre.org/concerts-events/sha-na-na/
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Sha Na Na
50th Anniversary Tour
with special guest PENDULUM: a Tribute to Creedence Clearwater Revival
Rich Engler Presents
Saturday, November 16, 2019 at 7:30 PM
$24, $34, $40, $56
_________________________
SPECIAL MILITARY & VETERAN DISCOUNT
Military personnel & veterans can receive $10 off a $56 ticket or $7 off a $40 ticket when they use code JOCKO at check-out. Offer valid for MILITARY & VETERANS ONLY.
Sorry, no adjustment on prior sales.
_________________________
Buy Tickets
Sha Na Na…
…may not have invented Rock nostalgia, but the group has successfully – very successfully – celebrated the music and memories for the past four decades… in concert, in the movies and on TV, and on record. Sha Na Na’s story is an all-encompassing one: they were in the original Woodstock Festival lineup, starred in Grease, hosted the Sha Na Na TV Show from 1977 to 1981 for a total of 97 episodes, and still play more than 50 concerts a year, from state fairs, performing arts centers, casino showrooms to mega corporate functions worldwide. And through it all – flower power, hard rock, metal music, disco, hip hop, rap and more – Sha Na Na remains true to the original concept: Rock ‘n Roll is here to stay! The Sha Na Na story begins oddly for a group that, in appearance, runs the gamut from greaser to gold lame. Attired in turtleneck and blue blazers, the nucleus of Sha Na Na were undergraduate members of The Kingsmen, a glee club ensemble at New York’s Columbia University that used to perform a cappella versions of ‘50s Rock songs as part of the performances. These proved very popular and eventually Rock ‘n Roll took over, instruments were added, and Sha Na Na – the name comes from the ‘50s Silhouettes’ hit, Get A Job – was born.
Heard of Woodstock?
… If the original 1969 Woodstock Festival was a defining moment in rock history, it was also a defining moment in the history of Sha Na Na. The group’s appearance – only the eighth in Sha Na Na’s career, followed by the Woodstock album and movie, cemented their reputation and style. “We went on second to last, at sunrise on the final day, but, importantly, just before Jimi Hendrix,” recalls co-founder, drummer Jocko Marcellino. “We did 40 minutes and were paid $350…and the check bounced!” Sha Na Na was the only group at Woodstock without a record deal. Immediately afterward, they had one and today the group has released eighteen albums in total, with worldwide sales of more than 20 million.
TV was another important step for the group…
The group taped 97 episodes of the Sha Na Na music variety shows from 1977 to 1981 that were seen – and still can be – in worldwide syndication. The shows, which featured Sha Na Na’s music, plus the group in comedy skits with special guests, further established the group’s credentials as a part of the landscape of rock & roll America.
Grease is still the word for Sha Na Na…
Grease: The Movie became another significant building block in the Sha Na Na story. The group appeared in the 1979 musical, as Johnny Casino and the Gamblers, and contributed to the music score with six Sha Na Na versions of rock classics and one original song, “Sandy,” co-written by Screamin’ Scott Simon for John Travolta to sing. Between takes, Travolta also sang a little doo-wop with the group. The accompanying Grease soundtrack album was a major hit, Grammy-nominated and certified eight times platinum. Recalls Marcellino: “Whole new generations get swept up in the nostalgia craze, effectively becoming our potential audience.” For example, Sha Na Na played the immense Los Angeles County Fair in front of a special audience – 20,000 Girl 2 Scouts! “They were too young to have seen our TV show, but they had seen Grease on video. They knew the words to every song from the movie.” Sha Na Na recently rocked The Hollywood Bowl at a Grease Sing-A-Long presented by The Los Angeles Philharmonic hosted by Didi “Frenchy” Conn with special guest drummer Dave Grohl of the Foo Fighters. A Hollywood Bowl tradition, the event celebrated the 35th Anniversary of the beloved Grease film, the highest grossing musical film of all time.
Live in concert….
Working for nearly five decades throughout the world, Sha Na Na has performed worldwide: from Carnegie Hall to the Grand Ole Opry, in Asia and in Africa, London to Tokyo. They have had some interesting newcomers opening for their show, such as Bruce Springsteen, Billy Joel, Billy Crystal, Steve Martin and Jay Leno! Live performances remain at the heart of Sha Na Na. Whether it’s those Girl Scouts or their baby boomer parents, the reaction to the group is the same – the discovery of a common joy in the music from a time when part of the world was “greased and ready to rock.”
To order by phone, call the Box Office at 724-836-8000
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American rock and roll doo-wop group, Type: Group, Founded: 1969 in Manhattan, Area: United States
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https://www.target.com/p/sha-na-na-woodstock-20-years-after-dvd-1989/-/A-91035428
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Sha Na Na: Woodstock: 20 Years After (DVD)(1989)
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Sha Na Na, the popular 1950s revival group which has sold over 20 million records and starred in it's own syndicated television series, was one of the performers at the original 1969 Woodstock Music Festival. Twenty years later, the band joined original fellow musicians for the "Woodstock: 20 Years After" concert held 3, 000 miles away at Cal-State Dominguez Hills in Carson, California on August 20, 1989. Sha Na Na's appearance at Woodstock was only the band's eighth performance. Formed during the 1968-69 school year at Columbia University, the idea for the band was conceived by George Leonard, a humanities graduate student, who also became the group's choreographer. The original lineup featured a dozen members and performed a song-and-dance repertoire based on popular '50s rock and doo-wop hits. "Within two months we were the hottest rock act in New York, held over weekly at Steve Paul's Scene, where the stars themselves partied. One night Janis Joplin ran backstage to kiss us, reeking of Southern Comfort, " recalled Leonard. According to the band's drummer, John Fair "Jocko" Marcellino, it was on the final night that Steve Paul's Scene was open that Jimi Hendrix personally introduced Sha Na Na to Woodstock's producers, Michael Lang and Artie Kornfeld. "We were booked that night, " Marcellino told Yahoo Entertainment's Lyndsey Parker. "We got $350, the check bounced, and we got a dollar to be in the movie. But that was a good dollar." Their high energy presentation and set-closing rendition of "At the Hop" was a highlight of the concert and appeared in the documentary film. The movie helped make Sha Na Na a U.S. sensation and triggered a '50s nostalgia craze that inspired the Broadway musical Grease, American Graffiti, and the 1970s television series Happy Days. When the film adaptation of Grease arrived in 1978, the accompanying soundtrack included six songs by Sha Na Na, and the group performed two songs in the film as Johnny Casino and the Gamblers.
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Sha Na Na alumni gather for NY reunion
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HUNTINGTON, N.Y. — The gold lame varsity jackets still fit. Four decades after performing as the penultimate act at Woodstock (having been invited by Jimi Hendrix) and three decades after a hosting a long-running TV variety show and appearing in the movie classic, “Grease,” several former members of the doo-wop singing group Sha Na Na are […]
|
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|
San Diego Union-Tribune
|
https://www.sandiegouniontribune.com/2010/09/25/sha-na-na-alumni-gather-for-ny-reunion/
|
HUNTINGTON, N.Y. — The gold lame varsity jackets still fit.
Four decades after performing as the penultimate act at Woodstock (having been invited by Jimi Hendrix) and three decades after a hosting a long-running TV variety show and appearing in the movie classic, “Grease,” several former members of the doo-wop singing group Sha Na Na are reuniting this weekend for a special one-time-only performance.
“It feels so natural that I just have not had as much fun or felt in harmony with anybody since,” said Robert Leonard, a longtime Hofstra University linguistics professor who in 1969 helped form Sha Na Na. He spent two years with the band before being offered a fellowship to Columbia Graduate School that led to a career in education.
Leonard, who sang bass and can be seen in the Woodstock movie wearing the group’s signature gold lame jacket, is bringing together former members of the group for a performance Saturday at a celebration marking Hofstra’s 75th anniversary. Other performers on the bill include Public Enemy, Blue Oyster Cult, Fountains of Wayne, Lisa Lisa, and hip-hop star Trey Songz
“It’s being billed as from doo-wop to hip-hop,” Leonard said of the bill, a somewhat eclectic lineup not dissimilar to Woodstock, where folkies like Arlo Guthrie and Richie Havens performed as well hard-rockers like The Who and Ten Years After.
Three longtime members of Sha Na Na actually still perform more than 50 shows a year, but this is the first time that Leonard and two others, David Garrett, now a New York City businessman, and Elliot Cahn, a California entertainment attorney who once managed Green Day, will be back on stage together.
“This is a delight; I left in 1973,” said the 62-year-old Cahn during a break in rehearsals Friday at a Long Island hotel conference room. “The last two times I sang in public were at memorial services for friends of mine who died.”
Born in the era of flower power, Sha Na Na’s founders were all college students at Columbia University who shared a love of harmonies inspired by the 1950s doo-wop groups. The group’s name comes from the chorus of the Silhouettes’ hit, “Get a Job (Sha Na Na Na).” During one of their first performances in New York City in 1969, Hendrix saw their act and became enamored, said Leonard. The guitar virtuoso immediately recommended to the Woodstock organizers that they be added to the lineup.
Despite their appearance as “greasers,” the group quickly won acceptance from their musical peers and soon after playing Woodstock, they signed a recording deal.
“People like Janis Joplin and Jimi Hendrix and the Grateful Dead, they really understood what we were doing and they were friends of ours,” Leonard said.
The group later appeared in 97 episodes of their own music variety show that aired from 1977 to 1981; by that time Leonard, Cahn and Garrett had left the group, replaced by Jon “Bowzer” Bauman and others. Bauman, a popular fixture on the TV show, has since left the group and will not be appearing with them this weekend.
Another founding member who had a scheduling conflict and won’t be appearing this weekend is Alan Cooper, who now is a distinguished professor of biblical studies at the Jewish Theological Seminary.
“Let’s face it, we were a bright bunch of guys,” said Jocko Marcellino, an original member who still tours with Sha Na Na 40 years later.
In 1978, the group appeared as “Johnny Casino and the Gamblers,” in the movie musical “Grease,” which featured several Sha Na Na rock covers. The soundtrack album was nominated for a Grammy and was certified platinum eight times.
“What Sha Na Na did was put the fun back in rock ‘n’ roll at a time when rock ‘n’ roll was starting to take itself a little too seriously,” said Bruce “Cousin Brucie” Morrow, a legendary New York City disc jockey. “I’d have to say they were very influential in many ways. They never got the flowers, never got the bouquets they deserved.”
Marcellino said he was amazed how well the group meshed during Friday’s rehearsal. “It’s like they were in the other room. We’re all just falling into it all over again,” he said.
As he looked at his colleagues giving press interviews after the rehearsal, Marcellino summed up the group’s story:
“We started it as a campy thing in campus and it still is the essence of it – guys hanging out doo-wopping, just like we were back on the stoop.”
(This version CORRECTS date of release of ‘Grease’ to 1978, not 1979, in 14th paragraph.)
Originally Published: September 25, 2010 at 12:55 p.m.
HUNTINGTON, N.Y. — The gold lame varsity jackets still fit.
Four decades after performing as the penultimate act at Woodstock (having been invited by Jimi Hendrix) and three decades after a hosting a long-running TV variety show and appearing in the movie classic, “Grease,” several former members of the doo-wop singing group Sha Na Na are reuniting this weekend for a special one-time-only performance.
“It feels so natural that I just have not had as much fun or felt in harmony with anybody since,” said Robert Leonard, a longtime Hofstra University linguistics professor who in 1969 helped form Sha Na Na. He spent two years with the band before being offered a fellowship to Columbia Graduate School that led to a career in education.
Leonard, who sang bass and can be seen in the Woodstock movie wearing the group’s signature gold lame jacket, is bringing together former members of the group for a performance Saturday at a celebration marking Hofstra’s 75th anniversary. Other performers on the bill include Public Enemy, Blue Oyster Cult, Fountains of Wayne, Lisa Lisa, and hip-hop star Trey Songz
“It’s being billed as from doo-wop to hip-hop,” Leonard said of the bill, a somewhat eclectic lineup not dissimilar to Woodstock, where folkies like Arlo Guthrie and Richie Havens performed as well hard-rockers like The Who and Ten Years After.
Three longtime members of Sha Na Na actually still perform more than 50 shows a year, but this is the first time that Leonard and two others, David Garrett, now a New York City businessman, and Elliot Cahn, a California entertainment attorney who once managed Green Day, will be back on stage together.
“This is a delight; I left in 1973,” said the 62-year-old Cahn during a break in rehearsals Friday at a Long Island hotel conference room. “The last two times I sang in public were at memorial services for friends of mine who died.”
Born in the era of flower power, Sha Na Na’s founders were all college students at Columbia University who shared a love of harmonies inspired by the 1950s doo-wop groups. The group’s name comes from the chorus of the Silhouettes’ hit, “Get a Job (Sha Na Na Na).” During one of their first performances in New York City in 1969, Hendrix saw their act and became enamored, said Leonard. The guitar virtuoso immediately recommended to the Woodstock organizers that they be added to the lineup.
Despite their appearance as “greasers,” the group quickly won acceptance from their musical peers and soon after playing Woodstock, they signed a recording deal.
“People like Janis Joplin and Jimi Hendrix and the Grateful Dead, they really understood what we were doing and they were friends of ours,” Leonard said.
The group later appeared in 97 episodes of their own music variety show that aired from 1977 to 1981; by that time Leonard, Cahn and Garrett had left the group, replaced by Jon “Bowzer” Bauman and others. Bauman, a popular fixture on the TV show, has since left the group and will not be appearing with them this weekend.
Another founding member who had a scheduling conflict and won’t be appearing this weekend is Alan Cooper, who now is a distinguished professor of biblical studies at the Jewish Theological Seminary.
“Let’s face it, we were a bright bunch of guys,” said Jocko Marcellino, an original member who still tours with Sha Na Na 40 years later.
In 1978, the group appeared as “Johnny Casino and the Gamblers,” in the movie musical “Grease,” which featured several Sha Na Na rock covers. The soundtrack album was nominated for a Grammy and was certified platinum eight times.
“What Sha Na Na did was put the fun back in rock ‘n’ roll at a time when rock ‘n’ roll was starting to take itself a little too seriously,” said Bruce “Cousin Brucie” Morrow, a legendary New York City disc jockey. “I’d have to say they were very influential in many ways. They never got the flowers, never got the bouquets they deserved.”
Marcellino said he was amazed how well the group meshed during Friday’s rehearsal. “It’s like they were in the other room. We’re all just falling into it all over again,” he said.
As he looked at his colleagues giving press interviews after the rehearsal, Marcellino summed up the group’s story:
“We started it as a campy thing in campus and it still is the essence of it – guys hanging out doo-wopping, just like we were back on the stoop.”
(This version CORRECTS date of release of ‘Grease’ to 1978, not 1979, in 14th paragraph.)
Originally Published: September 25, 2010 at 12:55 p.m.
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Sha Na Na
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https://en.wikipedia.org/wiki/Sha_Na_Na
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American rock and roll band
For the 1971 album, see Sha Na Na (album). For the television variety series, see Sha Na Na (TV series).
Sha Na Na was an American rock and roll and doo-wop revival group formed in 1969. The group performed a song-and-dance repertoire based on 1950s hit songs that both revived and parodied the music and the New York City street culture of the 1950s.[2][3] After gaining initial fame for their performance at the Woodstock Music and Art Fair, made possible with help from their friend Jimi Hendrix, the group hosted Sha Na Na, a syndicated variety series that ran from 1977 to 1981.
Billing themselves as "from the Streets of New York",[4] members were frequently outfitted in gold lamé or leather jackets and sported pompadour or ducktail hairdos. The group's name was taken from a series of nonsense syllables ("sha na na na, sha na na na na") in the song "Get a Job", originally recorded by the Silhouettes.[5]
The final lineup featured original members Donny York and Jocko Marcellino, and longtime member Screamin' Scott Simon, who joined in 1970. Everyone else from the original band and TV show had since departed. Final band members included bassist Tim Butler, guitarist Randy Hill, drummer Ty Cox, and saxophone player Michael Brown.
Sha Na Na released their last regular album in 2006, although they subsequently released compilation albums. As of December 5, 2022 , they announced that they would no longer tour.[1]
Career
[edit]
Conceived by George Leonard,[6][7] then a humanities graduate student, who also became the group's original choreographer,[8] Sha Na Na began performing in 1969 at the height of the hippie counterculture. Only five months after Leonard had explained his concept to the group, on the basis of excitement their performances had generated in a New York City club frequented by famous rock musicians and others from the music business, and with the help of Jimi Hendrix, a friend they had met at the club, they obtained a slot at the Woodstock festival. Their performance immediately preceded that of Hendrix, whose own performance closed the festival.[6][3][9][10]
As with most of their other early performances, Sha Na Na's performance at Woodstock was a "show stopper"[11] that left the audience simultaneously "delighted and bewildered."[12] Their set-closing song, the 1957–58 number-one hit "At the Hop", got the group a standing ovation, and they were brought back for an encore. Subsequently, the inclusion of their performance of "At the Hop" in Michael Wadleigh's award-winning documentary film of the festival made Sha Na Na nationally famous[12][13][14] and helped spark a 1950s nostalgia craze that inspired similar groups (Flash Cadillac, Showaddywaddy, Big Daddy), as well as the Broadway musical Grease (and its feature film adaptation), the feature film American Graffiti and the TV show Happy Days.[15][16]
Before 1969, the group had been singing as part of the long-standing Columbia University a cappella group called the Columbia Kingsmen. But when, based on Leonard's advice, they transformed their show and became a commercial act, they changed their name to Sha Na Na to distinguish themselves from the Pacific Northwest group also called The Kingsmen that had become famous for recording the 1963 hit "Louie Louie".[6][9]
At the time when the group was being transformed from the Columbia Kingsmen into Sha Na Na, George Leonard's brother, Rob Leonard, was one of the group's bass singers and its official leader.[17] Rob Leonard's performance at Woodstock of "Teen Angel", a teen-tragedy classic from 1959-60, was later included in the 2009 Director's Cut of the Woodstock movie.[18][19]
The group's first manager, Ed Goodgold, had codified trivia as a nostalgic quiz game and conducted the nation's first trivia contests with Dan Carlinsky in 1965. The future Sha Na Na/Kingsmen were featured singers at these contests.[20] Four years later, he co-authored "Rock 'n' Roll Trivia"[21] just as he and the William Morris Agency began steering Sha Na Na's career.
From 1969 to 1971, the band played at, among other places, the Fillmore East and Fillmore West, opening for such bands as the Grateful Dead, the Mothers of Invention, and the Kinks.[22] When Sha Na Na began headlining at other venues, one of their opening acts was Bruce Springsteen.[23][24] In 1972, Sha Na Na was one of just four acts invited by John Lennon and Yoko Ono to perform with them at their One-to-One benefit concert at Madison Square Garden.[25]
Subsequently, the group appeared in the 1978 movie Grease, and, from 1977 to 1981, the group reached perhaps the height of its success with its own hit syndicated television show Sha Na Na, featuring guest musicians such as James Brown, the punk rock band the Ramones, Chuck Berry, Little Richard, Bo Diddley, the Ronettes, and Chubby Checker.
The original band lineup featured 12 performers: Robert A. Leonard (Rob Leonard) (bass vocals), Alan Cooper (bass vocals), Frederick "Dennis" Greene (vocals), Henry Gross (guitar), Jocko Marcellino (drums), Joe Witkin (piano), Scott Powell (also known as Captain Outrageous and Tony Santini) (vocals), Donald "Donny" York (vocals), Elliot "Gino" Cahn (rhythm guitar), Rich Joffe (vocals), Dave Garrett (vocals), and Bruce "Bruno" Clarke (electric bass). The initial act had three up-front performers in gold lamé and the other nine in "greaser" attire (rolled up T-shirt sleeves, leather jackets, tank tops). On their album The Golden Age of Rock and Roll, the lead singer taunts the audience on one of the live tracks by announcing, "We've got just one thing to say to you fuckin' hippies, and that is that rock and roll is here to stay!" The act usually ended after several encores, and closed with "Lovers Never Say Goodbye". The closing song was changed to "Goodnight Sweetheart" for the TV series. In concert, they often returned for up to seven encores, and this included when performing in Toronto, at Ontario Place and performing "Hound Dog" after announcing Elvis Presley's death earlier that same day (August 16, 1977).
East Timorese militant and state leader Xanana Gusmão reportedly took his nickname from the band.[26]
TV series
[edit]
Sha Na Na hosted the Sha Na Na syndicated variety series that ran from 1977 to 1981. It was among the most watched programs in syndication during its run.[27] The show was produced by Pierre Cossette and originally distributed by LBS Communications.
The show featured the group performing hits from the 1950s and 1960s, along with comedy skits. The "tough guys" road act from their original road shows was adapted for TV and the group moved to a comedy and self-deprecating routine. The mainstay continued to be the 1950s song-and-dance routines. The show opened in a typical concert scene, and then moved through various street and ice cream parlor scenes, where their guests and they performed several songs. That was followed by a comedy-oriented song ("Alley Oop", "Hello Muddah, Hello Faddah"), and closed with a slow song, again in their concert format.
Among the supporting members featured in the series were Avery Schreiber, Kenneth Mars, and Philip Roth[citation needed] (all of them in the first season); both Pamela Myers and actress Jane Dulo (the Crabby Lady in the Window, who watched over the street scenes from her apartment with undisguised disdain) throughout the show's run, June Gable, and Soupy Sales (seasons two to four); Michael Sklar (season two); and Karen Hartman (season four).
Guests included Jan & Dean, Fabian, Chuck Berry, Chubby Checker, The Ramones, Ethel Merman, Frank Gorshin, Dusty Springfield, Barbara Mandrell, Stephanie Mills, Billy Crystal, Kim Carnes, Danny and the Juniors, Connie Stevens, Isaac Hayes, Rita Moreno, Del Shannon, Andy Gibb, Barbi Benton, and others.
During the TV series, the members of Sha Na Na were Jon "Bowzer" Bauman (vocals), Lennie Baker (sax/vocals), Johnny Contardo (vocals), Denny Greene (vocals), Danny "Dirty Dan" McBride (guitar/vocals) (left after third season), Jocko Marcellino (drums/vocals), Dave "Chico" Ryan (bass/vocals), Screamin' Scott Simon (piano/vocals), Scott "Santini" Powell (vocals), and Donald "Donny" York (vocals). Every member was featured with a solo vocal spot during the course of the series. Each was introduced only by his nickname or his first name in a voice-over by Myers at the beginning of each show.
Film
[edit]
The group appeared as itself in the documentaries Woodstock (1970) and Festival Express (2003).
Sha Na Na also appeared in the 1978 film Grease (an adaptation of the 1971 Broadway musical of the same name) as a 1950s band called Johnny Casino and the Gamblers. Their tracks on the film and Grease soundtrack include two songs from the original 1971 musical: "Those Magic Changes" and "Born to Hand Jive", and four songs from the early rock-and-roll era: versions of Elvis Presley's covers of "Hound Dog" (1956) and "Blue Moon" (1956), a cover of the Imperials' "Tears on My Pillow" (1958), and a cover of Danny & the Juniors' "Rock and Roll Is Here to Stay" (1958). The song "Sandy", sung by John Travolta in the film, was co-written specifically for the film by Sha Na Na's Screamin' Scott Simon.
Former members
[edit]
In alphabetical order
Member information
[edit]
Vinnie Taylor (1949–1974) (born Chris Donald), who replaced Larry Packer as the lead guitarist in 1970, died of a drug overdose in 1974. Escaped child killer Elmer Edward Solly assumed Taylor's identity and performed as him, though not with Sha Na Na, which eventually led to his discovery and capture.[28]
Bass player Dave "Chico" Ryan died in 1998. While remaining in Sha Na Na, he joined Bill Haley & His Comets for the group's fall 1979 tour of Europe (Haley's last major tour before his death).
Guitarist Danny "Dirty Dan" McBride (born Daniel Hatton, 1945) died of cardiovascular disease in 2009.[4]
Bass guitarist Reggie Battise was a dancer in the feature film Staying Alive (1983) and White Men Can't Jump (1992), as well as the TV series Moonlighting. He succumbed to prostate cancer on October 8, 2010.[29]
Founding member Rob Leonard is a professor of linguistics at Hofstra University. He had an appearance as a qualified expert in linguistics for the murder case of Charlene Hummert in the episode "A Tight Leash" of the TV medical detectives series Forensic Files in 2004,[30][3] as well as for the Tennessee "Facebook Murders" on the Investigation Discovery crime show Too Pretty to Live in 2016.[31][32]
The group's first guitarist, Henry Gross, became a solo performer. He scored a number-six Billboard hit single, "Shannon", in 1976.
Alan Cooper, the lead singer in the group's performance of "At the Hop" in the Woodstock film, went on to pursue an academic career. He taught religious studies at McMaster University in Hamilton, Ontario, for 10 years, then became a professor of Bible studies at Hebrew Union College-Jewish Institute of Religion in Cincinnati, and now serves as the Elaine Ravich Professor of Jewish Studies and provost at the Jewish Theological Seminary of America.[33]
Jon "Bowzer" Bauman replaced Alan Cooper and became a recognizable member of the group as he taunted audiences while he flexed his muscles, burped, and spat in the direction of the bass player. In the 1980s, he had a brief career as a game show master of ceremonies. He continues to tour.
Elliot Cahn, the group's original rhythm guitar player and musical arranger, later became the first manager of Green Day.[34]
Joe Witkin, who was replaced by Screamin' Scott Simon, was the original keyboard player and singer of "Teenager in Love" on their first album. Witkin left the band in 1970 to finish medical school, and subsequently moved to San Diego, California, in 1975 to do his internship and residency at the University of California, San Diego. He worked at Scripps Hospital East County from 1978 to 2000 as an ER physician, and held the same position at Sharp Grossmont Hospital in La Mesa until retiring in 2013. Witkin lives with his family in San Diego. He played with a 1950s/1960s show band The Corvettes[35] in San Diego for 23 years.
Scott Powell is a specialist in orthopedic surgery and sports medicine.[36] He performed on the TV show under the stage name "Santini" (another alias was "Captain Outrageous"). Powell left the band in 1980 and returned to Columbia to take premedical courses. He has been a member of the medical staff of US national soccer teams, and was the team physician for the Federation Women's National Team from 2005 to 2015. He is a clinical professor at the University of Southern California.[36] While Powell was with Sha Na Na, he sang the bulk of the Elvis Presley revival songs.
Frederick "Denny" Greene left the group to pursue studies in law.[37] After graduating from Yale Law School, he became the vice president of production and features at Columbia Pictures. He was a professor at the University of Dayton.[37] Greene was known for his skilled dancing and sang the lead on "Tears on My Pillow", "Duke of Earl", and others. He died on September 5, 2015, after a brief illness.[38]
Bruce "Bruno" Clarke became a professor of English at Texas Tech University in Lubbock, Texas.[39]
Richard Joffe became a class action litigator for a law firm in New York City.[40]
Dave Garrett ran the Long Island-based musical instrument amplifier company Earth Sound Research during the 1970s. A businessman, he resides in New York City.[citation needed]
Pop culture
[edit]
Besides having many of their songs featured on TV series and movies, Sha Na Na—and especially their omission from the Rock and Roll Hall of Fame—is a reoccurring source of humor on the Comedy Bang! Bang! podcast. An occasional character in the show, Hot Dog, is often reprised by Andy Daly, who constantly talks about his failed auditions to be a member of Sha Na Na.[41][42][43] In episode 300, "Oh, Golly! You Devil", he announces that he has started his own band, Na Sha Sha, but in episode 400, "The War on Surfing", he says they have kicked him out.
Discography
[edit]
Albums
[edit]
Studio and live albums
[edit]
Rock & Roll Is Here to Stay! [1969, US Billboard Album Chart 183] (re-released in 1973 with different cover)
Sha Na Na [1971, US Billboard Album Chart 122] (Side A: Recorded live at Columbia University, New York and Side B: Recorded at Electric Lady Studios, New York)
The Night Is Still Young [1972, US Billboard Album Chart 156]; certain releases omitted one of the songs ("Sleepin' on a Song")
The Golden Age of Rock 'n' Roll [1973, US Billboard Album Chart 38, RIAA Certification: Gold] (Double LP, sides 2, 3 & 4 live recordings probably from 1972)
From the Streets of New York (live) [1973, US Billboard Album Chart 140]
Hot Sox [1974, US Billboard Album Chart 165]
Sha Na Now [1975, US Billboard Album Chart 162]
Rock 'n Roll Graffiti – Live in Japan [1975] (released in Japan in 1977, re-released in 1981)
Rockin' in the 1980s [1980]
Silly Songs [1981]
34th & Vine (1990) [eight songs]
Live in Concert (late 1980s and early 1990s concerts) [199?] (one CD, two cassettes, or one DVD)
Rock 'n Roll Dance Party (20 tracks in 1996; re-released with only 16 tracks in 1999)
Then He Kissed Me (with Conny) [1999], Japan
Live in Japan (with Conny) [2000], recorded in November 1999, Japan
Rockin' Christmas [2002] (re-released in 2003 with different cover and one additional track: "Bad Christmas Eve")
One More Saturday Night [2006]
Compilation albums
[edit]
Yeah, Yeah, Yeah (Vol I, II, III, IV) [1985] (cassette) compilation series that includes two previously unreleased songs, "Da Doo Ron Ron" and "Mr. Bass Man"
Rockin' and a Rollin' [1986] compilation (CD) that includes one previously unreleased song, "My Prayer"
Havin' an Oldies Party with Sha Na Na [1991] compilation that includes one previously unreleased song, "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini"
The Sha Na Na 25th Anniversary Collection [1993] (20 songs including the eight tracks from 34th & Vine)
20 Classics Of Rock 'N' Roll (mid-1990s) (compilation cassette including a few previously unreleased recordings)
Blue Moo: 17 Jukebox Hits from Way Back Never – various artist release (book and CD) containing one song ("Gorilla Song") by Sha Na Na [2008]
40th Anniversary – Collector's Edition (includes at least six previously unreleased performances) [2009]
Rockin' Christmas: The Classic Christmas Collection (includes six new Christmas songs) [2011]
Grease High School Hop – 25 Dance Songs of the '50s & '60s (compilation) [2013]
Grease High School Hop Karaoke – 10 Sing-Along Favorites of the '50s & '60s (digital release) [2013]
Rockin' Christmas: The Classic Christmas Collection (re-release that includes one new Christmas song: "Ugly Christmas Sweater") [2017]
50th Anniversary – Commemorative Edition – CD and LP – 12 never-before-released live concert cuts, three original bonus studio cuts, and expanded 16-page behind-the-scenes story [2019]
Soundtrack appearances
[edit]
Woodstock soundtrack [1970, US Billboard Album Chart 1] (includes "At the Hop" by Sha Na Na)
Sha Na Na also appears on the festival compilation albums Woodstock: Three Days of Peace and Music ("At the Hop"); Woodstock 40 Years On: Back To Yasgur's Farm ("Get a Job", "At the Hop", "Get a Job (reprise)"); Woodstock – Back to the Garden: 50th Anniversary Collection ("At the Hop"); Woodstock – Back to the Garden: 50th Anniversary Experience ("Get a Job", "Come Go with Me", "Silhouettes", "At the Hop", "Duke of Earl", "Get a Job (reprise)"); and Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive
Grease soundtrack [1978, US Billboard Album Chart 1] (includes six songs by Sha Na Na)
Singles
[edit]
"Remember Then" / "Rock & Roll Is Here To Stay" [1969, US Cash Box Singles Chart 114]
"Payday" / "Portnoy" [1970]
"Only One Song" / "Jail House Rock" [1971, US Billboard Singles Chart 110]
"Top Forty" / "Great Balls Of Fire" [1971, US Billboard Singles Chart 84]
"Eddie and the Evergreens" / "In the Still of the Night" (from The Night Is Still Young album) [1972]
"Bounce in Your Buggy" / "Bless My Soul" [1972, US Cash Box Singles Chart 124]
"Maybe I'm Old Fashioned" / "Stroll All Night" (longer version) [1974]
"(Just Like) Romeo and Juliet" / "Circles Of Love" [1975, US Billboard Singles Chart 55]
The Sha-Na-Netts – (Just Like) Romeo And Juliet (No Lead Vocals) / Flint-Niks – The Flint-Nik Rock [1975]
"Smokin' Boogie" / "We're Still Smokin'" [1975]
Videos
[edit]
Sha Na Na Live in Germany (TV: Musikladen), 1973 (DVD, CD+VCD)
Rock 'n Roll Concert & Party [1987] (VHS)
Other appearances
[edit]
Grunt: The Wrestling Movie (1985) -- includes "Wrestling Tonight" by Sha Na Na
The Fall Guy TV series – "Beach Blanket Bounty" episode [1986] – several songs performed by Sha Na Na
References
[edit]
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https://www.bandsintown.com/e/1032421491-sha-na-na
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Sha Na Na Clearwater Tickets, Ruth Eckerd Hall Dec 08, 2024
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Sha Na Na is coming to Ruth Eckerd Hall in Clearwater on Dec 08, 2024. Find tickets and get exclusive concert information, all at Bandsintown.
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Bandsintown
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https://www.bandsintown.com/e/1032421491-sha-na-na-at-ruth-eckerd-hall
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https://www.amazon.com/Sha-Na/dp/B0009WIE0C
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Amazon.com
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Enter the characters you see below
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https://www.wickedlocal.com/story/provincetown-banner/2007/09/27/long-live-rock-n-roll/40425913007/
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Long live rock ‘n’ roll: Sha Na Na’s Lennie Baker coming to Cotuit
|
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"Joe Burns, Wicked Local"
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2007-09-27T00:00:00
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“Rock ‘n’ roll is here to stay.”\u00a0 \n \nThat’s what Danny and the Juniors sang nearly 50 years ago, and Lennie Baker, who backed the Philadelphia vocal group when they performed in New England, and who …
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en
|
Wicked Local
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https://www.wickedlocal.com/story/provincetown-banner/2007/09/27/long-live-rock-n-roll/40425913007/
|
“Rock ‘n’ roll is here to stay.”
That’s what Danny and the Juniors sang nearly 50 years ago, and Lennie Baker, who backed the Philadelphia vocal group when they performed in New England, and who later gained celebrity as a saxman and singer with rock ‘n’ roll revivalists Sha Na Na, is living proof that it’s true.
At age 61 Baker continues to play the music that he connected with as a kid. On Saturday, Sept. 29, Baker, backed by The Spellbinders, will be polishing up those golden oldies when he performs at the Sons of Italy Hall in Cotuit. Proceeds from the show benefit the Barnstable Yarmouth Lions Club.
For Baker, it all began 53 years ago in Whitman.
“I started playing clarinet when I was 8 years old,” Baker says. “They’d come around to the schools and demonstrate all the instruments and then you could pick the one you like. Why I picked the clarinet I have no idea.”
By the early ’60s Baker was blowing sax for Paul Wayne and the Wantells, a local garage band, playing high school hops and dance parties.
“We used to do Kenny Carter’s Pepsi Dance Party in Revere (broadcast on WCOP) and places like B.C. High, and Whitman Town Hall and Holbrook Town Hall,” Baker says.
The band also backed nationally known rock ‘n’ roll acts such as Danny and the Juniors, whose recording “At the Hop” became a ’50s anthem, and later on, a staple for Sha Na Na, who performed it at Woodstock. Baker, who joined Sha Na Na a few years after Woodstock, made his imprint on the group turning the doo-wop version of “Blue Moon” into his signature song.
Joining Sha Na Na was a step up for Baker. “We were sort of the bigtime then,” he says. But going from backing seminal rock ‘n’ rollers to working with the campy retro rockers wasn’t that great a change, Baker adds.
“It was the same audience. We worked a lot of colleges, all over the United States. They were all college kids; the group started at Columbia University.”
As for Sha Na Na’s over-the-top performances, Baker says, “They took the music and turned it into choreography. They made it very literal.”
Back when Baker was linking up with Sha Na Na, Albie and The Spellbinders, which began as British Invasion cover band in the mid-’60s, was also remaking itself into a ’50s revival act, adding keyboardist, sax player and singer Bruce “Rooster” Perry to the band.
Perry is still with the group as is drummer Baby Ray Jordan, whose been keeping The Spellbinders beat since they began; Pete “Neiman” Ewas, bass, keyboard and vocals, who came on board in 1974; and guitarist/vocalist Mike Murphy who joined in 2001. The Spellbinders have opened for acts such as Mitch Ryder, Chubby Checker, The Shirelles, The Drifters, The Happenings, The Angels, and The Ink Spots.
Perry, who hails from North Brighton, is a friend of Baker from way back.
“I’ve known Lennie since 1971. He was just starting with Sha Na Na and I met him at a club in Stoughton. He came on stage and sat in with us, and whenever he wasn’t on the road he’d come down in sit in with us,” Perry says.
Baker stopped performing in 2000 because of health reasons.
“I always performed off and on but I didn’t play for like two years. Then I got a new kidney and I started to play again,” says Baker, who now keeps his performing dates within range of his Halifax home.
“If Sha Na Na comes in and they call me, then I’ll go play with them,” Baker says. As for working with The Spellbinders, Baker says he’s always open.
“If I got a gig, I play with them. If they got a gig and they can afford me, then they call me,” Baker says.
Speaking of the upcoming show, Baker says he’ll be singing as well as playing sax. “My voice is actually still getting better. I don’t know how, but it does,” says Baker who adds that he’ll be doing “everything from ‘Tears on My Pillow’ to ‘Wise Men Say.’ And I’ll do a slow version of ‘Pretty Little Angel Eyes.’”
Expect to hear “Blue Moon” as well.
“I’ve done ‘Blue Moon’ all over the world,” Baker says.
Perry says that backing Baker seems like old times.
“It’s kind of a continuance of that, even though it’s 35 years later,” he says. “It’s a hoot. It’s just fun. Playing with Lennie keeps us vital. You never grow old with rock ‘n’ roll."
If you go:
What: Lennie Baker and The Spellbinders
Where: Sons of Italy Hall, 4966 Route 28, Cotuit.
When: 7-11 p.m. Saturday, Sept. 29.
Tickets: $20, available at Puritan stores in Mashpee and Hyannis.
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https://www.georgeleonard.com/sha-na-na-and-the-woodstock-generation.htm
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Sha Na Na and the Woodstock Generation
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By George Leonard '67 and Robert Leonard '70
(from COLUMBIA COLLEGE TODAY, Spring/Summer 1989, p. 28)
Editor's note: In 1969 the Columbia Kingsmen, a student singing group, insouciantly traded their jackets, ties and rah-rah spirit for an image with more flash. As Sha Na Na, outfitted in gold lame and Elvis Presley hairdos, they perfected a song and dance repertoire of classic Fifties rock'n'roll. Soon after their memorable "Grease Under the Stars" concert on Low Plaza they shot to stardom, playing at Woodstock, the Fillmores West and East, and many venues in between. Their success inspired the Broadway musical Grease, followed by the movie Grease (in which they appeared); the group eventually had its own television series. Two founders of Sha Na Na offer these reminiscences of the early days. [See George Leonard's accompanying article "How to Dance like Sha Na Na".]
Columbia students in the 1960's grew up knowing that Columbia was a major force in popular culture: Ginsberg and Kerouac had led the Beats; Rodgers, Hart and Hammerstein were giants for the modern Broadway musical; Art Garfunkel (with his friend Paul Simon, an NYU student) pioneered American "folk rock." No miracle that Columbia--and only Columbia!-- was represented at the Woodstock Festival, in the movie Woodstock, and later, held the record for encores (four: the Kinks had to wait in the wings for an hour) at Fillmore West till it closed.
Sha Na Na was, in fact, the Columbia Kingsmen. Even after Woodstock, during its fame as a Fillmore headliner, when members dropped out we recruited new ones from Columbia--like Screaming Scott Simon or Jon "Bowzer" Bauman, the group's second leader, now a TV star and producer.
This year, 1989, is the twentieth anniversary of Woodstock and we found ourselves wanting to write not so much a history of Sha Na Na as something that would recapture that spring-- as Columbia recovered from the Revolution and was about to move into the Woodstock Generation. Events came thick and fast in the Sixties and Columbia was at the center of it all.
Spring, 1969, ended not with another Revolution but with two rock'n'roll extravaganzas, "The Glory That Was Grease" in Wollman, and The First East Coast Grease Festival;--the apocalyptic "Grease Under the Stars" concert on Low Plaza.
Before the Columbia Kingsmen went into rock'n'roll, there were no oldies radio stations and no "theater rock:" white rock groups still stood on stage like the Beatles and sang their album, though a lead singer might cavort like Jagger.
Above all, there were no "Fifties." The Fifties were unregretted, still accurately remembered for the Bomb-fearing, Commie-hunting, money grubbing era they were: the Eighties without the glamor. The Beats dropped out, Jules Feiffer got "sick, sick, sick."
In 1969, most of Columbia had been through a year of the riots, fist fights, and broken friendships of the Revolution. Alumni will remember the morning sounds of glass being chipped from last night's broken windows onto the sidewalk, the tinkling mixing with the drone of a bullhorn echoing off Low Library's steps.
George Leonard's daily dining room handouts and twice-weekly Spectator ads revised the Fifties into a pre-political teenage Eden: "Jocks! Freaks! ROTC! SDS! Let there be a truce! Bury the hatchet (not in each other)! Remember when we were all little greaseballs together watching the eighth-grade girls for pick-ups?" The Kingsmen were very excited when, after "The Glory That was Grease" in Wollman, freaks from SDS went to Beta House and (stoned nearly blind, of course) danced with their recent enemies for hours. The idea most Americans under forty now have of the 1950's is a Columbia fiction: a mythical world before politics that Columbia University, exhausted by the revolution, needed, that spring, to believe in.
Sha Na Na grew out of the unique midnight bull-session atmosphere of the Columbia dorms. When George was a junior on the Fifth Floor Jay, Ed Goodgold and his pals used to play a game in the hall that Ed (with Dan Carlinsky) soon boosted into a national institution: "Trivia." George, meanwhile, banded floor members into an underground film company: basketball great Jim McMillian played the heavy. Then, for Ed's and Dan's fist All-Ivy Trivia Contest, the Kingsmen prepared "Little Darlin'." They wore blazers and stood in a semicircle; but when Rob Leonard did the spoken solo, the audience reaction was so intense that George (already studying choreography) had his vision of a group that would sing only Fifties rock and perform dances like the Busby Berkely films Susan Sontag had taught George to love.
By great luck, George and Rob found in the Kingsmen Elliot Cahn and Al Cooper, who could rewrite simple doo-wop harmonies into operatic compositions for twelve voices; Dave Garrett, a mountainous figure with a pure tenor; natural comic talents like Rich Joffe (graduated summa cum laude!), Jocko Marcellino, and Donny York; keyboardist Joe Witkin, guitarist Bruce Clarke, vocalist Scott Powell; and even a trained dancer, Frederick "Denny" Greene. George's masterpiece, "Duke of Earl" --too difficult ever to be performed in public; the group did it privately for their own satisfaction--ended with Denny doing a Double Pirouette And Mike Snatch inside a halo of flying arms.
The Class of '69's climactic rock orgy came about when the frats' representative offered George $100 to play Spring Carnival--$100 for the whole group. He countered that if they'd pay $100 per man, he'd repackage the carnival as the First East Coast Grease Festival and advertise it up and down the coast. The frats agreed. George wrote an ad for the Grease Festival and put it in Fusion, Rolling Stones's competitor: "Come greased!"
At this point someone in the administration became terrified. These were Columbia College students--at the time, the most feared gang of desperados in the country. Twelve months before, during a warm spring, they had marched across the evening news for six weeks, inspiring student protests across the country with echoes as far away as France. It was spring again, and if they were allowed to mass, no one knew if they'd end the night trying to take City Hall.
Someone in administration canceled the concert--even the frats backed out. George, Rob and Denny Green went to Dean Carl Hovde with the Fusion ad: Thousands of rockers were about to descend on Columbia and if they didn't find a concert, there would be hell to pay. Dean Hovde showed the talent which had gotten Columbia through 1969. He not only accepted reality, he volunteered to pay the Kingmen's wages and threw open the concert to the public--free. The concert became the dean's gift to the students.
The Grease Festival turned out to be the first taste of Woodstock, three months later. Five thousand spaced-out, peaceful freaks from Harvard to Virginia made a bobbing sea of heads beneath the Kingsmen, who preformed on the steps next to Alma Mater. It was a grand ending for the Class of '69, soon to be called The Woodstock Generation.
Our first agent wanted to call us "The Put-Ons" so George changed our name to Sha Na Na--just for the weekend, he promised, he'd think of something better next week. We hit so fast he became scared to. Within two months we were the hottest rock act in New York, held over week after week at Steve Paul's Scene, where the stars themselves partied. One night Janis Joplin ran backstage to kiss us, reeking of Southern Comfort; another night Rob was being helped off the Scene's floor after collapsing in the finale of "Teen Angel," and Bruce Clarke, Ellie Cahn, and Henry Gross were blasting into "Wipe Out," when Rob looked up and saw Jimi Hendrix not ten feet away, jumping up and down on a chair clapping and waving his arms, looking like he was going to take off and fly. Later he told us we were "Right ON!"
Some of us figured Jimi got us invited to Woodstock, and as it turned out, we played right before him, when he closed the show with his immortal acid-rock "Star Spangled Banner." A week after his visit Rob had come off a set and found a speechless, glassy-eyed freak in our dressing room. Rob grabbed his belt and shoulders, starting throwing him out--Ed Goodgold, who did our bookings, actually tacked Rob! Ed righted the little guy, gingerly brushed him off. The freak grinned, face cherubic, and mumbled, "You guys have got to be in Woodstock." "What's a Woodstock?" Rob asked. He had almost ejected Michael Lang, the festival's major producer. And Lang wouldn't have been back: that night the mob closed the Scene, possibly for nonpayment of dues, battling the Filipino sap-man and black-belt bouncers, throwing tear gas, and routing rock stars, freaked-out Lang, Henry Gross's 80 year-old grandmother, and our parents.
So five months after George had told us in Rob's apartment that he was going to teach us to dance and make us stars, a bunch of Columbia guys who had merely signed up for a King's Crown Activity were staring dumbfounded out the open door of a troop transport helicopter as it flew over miles of hippies, abandoned cars, smashed fences, campfires and wandering day-glo-colored armies looking for water and food and dope.
Everyone was long hair, love beads and tie-dye; they stood around the mikes and sang. When we burst onto stage greased, in gold lame, doing George's Busby-Berkeley-Goes-Apollo dances, a quarter of a million freaks probably thought they'd taken the wrong acid. We did well enough, though, to make the Oscar-winning movie--if you had to pick ten films that will be watched, indeed studied, one hundred years from now, there's one.
Woodstock is American cultural history, and only Columbia had its delegation there, for very good reasons. Columbia works in weird ways: the tradition of leadership in popular culture, the catalyst of the dorms, the superheated New York City atmosphere. All these are inseparable parts of the Columbia education. George sometimes sends money to his old dorm room, addressed "Occupant." He's waiting to see what comes out of the dorms next.
George Leonard, who supplied the conception and choreography for Sha Na Na, received his Ph.D. from Columbia in 1972, and has taught English at Yale and the University of California at Irvine. His novels, Beyond Control and The Ice Cathedral, have been widely praised. He is Professor of Interdisciplinary Humanities at San Francisco State University.
Robert Leonard, Sha Na Na's first president, is Professor of Linguistics at Hofstra University. He has been administrative vice president and professor of linguistics at Friends World College in Huntington, N.Y.; he formerly directed the school's East African Center in Kenya. He received his Ph.D. from Columbia in 1982, where he also taught Swahili.
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https://www.rollingstone.com/music/music-news/sha-na-na-na-yip-yip-mum-mum-get-a-job-71964/
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en
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Sha Na Na Na Yip Yip Mum Mum Get a Job
|
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"Jan Hodenfield"
] |
1969-10-18T12:00:00+00:00
|
Is '50s nostalgia behind the popularity of these Columbia and Brooklyn College undergrads?
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-news/sha-na-na-na-yip-yip-mum-mum-get-a-job-71964/
|
If rock and roll is art and, like all art, is a refraction of all the events affecting all of us: and if it follows
–that rhythm and blues reached a mass white audience simultaneously with the civil rights movement
–that the Beatles, with their vigor, dry wit and flopping hair, evoked maniacal response immediately following the assassination of John Kennedy
–that popular music turned cold and threatening, demanding introverted performance and response, during the Johnson/Vietnam-scarred years–
Then there is, maybe yes, more than campy nostalgia in the revival of simplistic rock from groups such as Cat Mother and the All Night News Boys, the Nitty Gritty Dirt Band, the Wild Thing, N.R.B.Q. and, now, Sha-Na-Na.
A brilliantly crystallized dream from the past, Sha-Na-Na is eleven undergraduates from Columbia and a twelfth from Brooklyn College, managed, not surprisingly, by the originator of Columbia’s trivia craze.
The three lead singers slouch on stage in gold lame suits. One spits. The other nine members of the group slide out on their own grease. Elaborate, hooded-eye boredom. D.A. haircuts. Drain-pipe trousers, ending at mid-calf, where the white socks begin. T-shirts, with sleeves rolled up to the shoulder. “De Molay” slapped across one shirt. “Izzy’s Knishes” across another. The rhythm guitarist is bundled up in a black leather jacket with 27 zippers. The microphone is tested: “Tough… Tough… Tough.”
They do “Alley Oop.” “Heartbreak Hotel.” “Why Do Fools Fall In Love.” “Donna.” “Wipe Out.” “Rock and Roll Is Here To Stay.” “Teen Angel.” “Chantilly Lace.” “Little Star.” “Teenager In Love.” “Duke Of Earl.” “Rama Lama Ding Dong.” The entire repertoire is choreographed. In “At The Hop,” everyone twists. For “Tell Laura I Love Her,” hands are clasped in prayer; two of the lead singers then raise hands to form a chapel over the third gold lame; at the climax, the entire group stretches arms upward to form the tabernacle.
Editor’s picks
And, of course, the Silhouettes’ “Get A Job.”
Sha na na na
Sha na na na na
Sha na na na
Sha na na na na
Sha na na na
Sha na na na na
Sha na na na
Sha na na na na
Yip yip yip yip
Yip yip yip yip
Mum mum mum mum
Mum mum
Get a job
(Richard Goldstein, in his book The Poetry of Rock has it as Sha da da da. But Sha-Na-Na’s leader, linguistics major Rob Leonard, says Goldstein just doesn’t hear well.)
A group that just six months ago was futzing around as the Kingsmen, Columbia’s 22-year-old answer to Yale’s Whiffenpoof singers. Playing college functions, nearby girls’ schools, daring a little folk, some soft rock.
For their own amusement, the Kingsmen played around with a few raunchy early rock numbers. “We always liked oldies,” says group leader Rob Leonard, “and sang them on street corners like everyone else in New York City.” Sneaking a few of them into a March concert, they were knocked over by the response. Rob’s brother, George, a Columbia PhD candidate in English Literature, asked trivia expert Ed Goodgold to look them over.
In April, the Kingsmen drew 1,500 at a Columbia concert of rock classics. In May, 4,500 enthusiasts turned out for a show in front of the college’s Alma Mater statue. Even though Columbia, sided by black slums, white slums and the Hudson river, might often as well be in New Jersey for all its impact on the Manhattan mainstream (hence the surprise about, and consequent startled coverage of, the student riots there), word began to seep out about the group now calling itself Sha-Na-Na.
Goodgold, looking for a manager for the group, was elected by them. Sha-Na-Na signed with William Morris as booking agent. In early summer, Sha-Na-Na started rehearsing six hours a day. A hot show-business property, baby. Twelve clean-cut college kids.
David Garrett, first tenor, is majoring in electrical engineering, “due to a masochistic philosophy.” Like lead guitar first tenor Harry Gross majoring in political science at Brooklyn College, and group leader-bass Rob Leonard, majoring in sociology and linguistics, Garret is from Brooklyn. Piano-baritone Joe Witkin, majoring in analytical biology, and on the dean’s list, moved to Brooklyn from Long Island when he was six. All but first tenor Donald York, from Idaho, are from the East Coast urban sprawl.
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https://pleasekillme.com/sha-na-na/
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SHA NA NA & THE ESCAPED BABY-KILLER
|
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2018-10-09T04:05:19+00:00
|
How guitarist ‘Vinnie Taylor’ came back to life 20 years after dying of a heroin overdose and fooled the cops for four years while allegedly playing in the retro rock & roll band that Jimi Hendrix brought with him to Woodstock
|
en
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PleaseKillMe
|
https://pleasekillme.com/sha-na-na/
|
How guitarist ‘Vinnie Taylor’ came back to life 20 years after dying of a heroin overdose and fooled the cops for four years while allegedly playing in the retro rock & roll band that Jimi Hendrix brought with him to Woodstock
by Burt Kearns & Jeff Abraham
Dozens of musicians have performed as members of Sha Na Na during the group’s 49 years as America’s premier rock ‘n’ roll parody show band. Among the ones who’ve come and gone, few were as steeped in the grease-dripping, golden oldies era, or committed so intensely to his character, as Chris Donald.
Taking the stage name “Vinnie Taylor,” the lead guitarist came onboard in time to play on Sha Na Na’s first and most significant albums and to lead the band in its touring heyday, until 1974, when he was found cold and blue in a motel room, with a needle hanging out of his arm. Chris Donald, aka Vinnie Taylor, was dead — dead, that is, until he came back to life and began performing again twenty years later.
The story of the death and resurrection of Vinnie Taylor is one of the most confounding, bizarre, unwelcome and sordid stories in the history of rock ‘n’ roll.
But first, you’ve got to know the story of Sha Na Na.
And Na Na Sha.
IN THE CONTEXT OF CHAOS
Sha Na Na, the group that led the rock ‘n’ roll revival of the early Seventies, was born not on the streets of Philly or under a boardwalk in Coney Island during the Eisenhower era, but in 1969 on the rarified campus of Columbia University, the Ivy League school in upper Manhattan. “The original band were glee clubbers,” recalled Scott Simon — “Screamin’ Scott Simon” to you, Sha Na Na’s legendary piano man. “They were a Columbia group called The Kingsmen — not to be confused with the ‘Louie, Louie’ Kingsmen, which caused them to change their name early on in their professional career to Sha Na Na. These guys were short-haired, wore blazers and didn’t have any electric instruments. They had acoustic guitars.
“It was happening in the context of the chaos on the Columbia campus and what might bring together the two groups known as the jocks and the pukes,” Simon said. “Pukes being the hippie peace lovers, and the jocks being the hard-drinking football players. Who also would take acid on the side, by the way.”
The group’s mission came into focus when “they added the electric players: Jocko (Marcellino) the drummer, Bruno (Clarke) the bass player, and Henry Gross the guitar player.”
Their show, full of dancing, posing and flexing — along with some proto-punk rock ‘n’ roll — wound up playing The Scene, Steve Paul’s happening basement nightclub on West 46th Street in the Theatre District. The Scene was where it was at music-wise, booking acts like The Doors, The Velvet Underground and The Jimi Hendrix Experience.
Hendrix took a liking to Sha Na Na, and gets some credit for “discovering” the group. When he was booked to perform at the Woodstock festival that summer, he insisted Sha Na Na be his opening act. It was their eighth gig.
“Hendrix wouldn’t go on until Sha Na Na went on,” Simon said. “So six in the morning, Monday morning, Sha Na Na went on. And 7:30 in the morning, Jimi went on. The very last things at the festival.”
While Sha Na Na was about to break nationally that Woodstock weekend, Scott Simon was on West 3rd Street in Greenwich Village, playing the Café Bizarre (“home to the Lovin’ Spoonful and all these Village-y acts”) with The Royal Pythons, a four-piece blues and rock ‘n’ roll band led by his Columbia classmate, guitarist Chris Donald. His time in Sha Na Na was months away.
“I got into Sha Na Na because the piano player left,” he said. “I was the first guy not from the original twelve guys. April of 1970, I joined the band, graduated in May. So got a job. Get a job. Sha na na.” Simon laughed at that (Sha Na Na took their name from the nonsense syllables in “Get A Job”, the 1957 doo-wop hit by The Silhouettes).
Chris Donald got the call ten months after Screamin’ Scott. “He joined in ’71, and was in the band for three or four years. He played on all of our seminal albums,” Simon said. “And he adopted the stage name Vinnie Taylor, so he was Vinnie. And he was the greasiest guy, really. If you look at those photos, with a toothpick and a striped shirt and sunglasses, he was not pretending. He was for real.
“He had gone to private school in Kent, Connecticut. His father was in the State Department, in the CIA. His parents were very nice people, but they were traveling internationally, so they’d send their kids to boarding school and these very straight, strict environments. And very often, the bounce-back was severe. So Chris came to Columbia with the longest hair, did the most drugs and was notorious for that in an era at Columbia, from ’66 to ’67, to ’68 to ’69, as the revolutions came one after the other. He was definitely caught up in the cultural stuff. But he also had an unfortunate predisposition to want to get really high.”
On Friday, April 19, 1974, Sha Na Na performed at The University of Virginia’s University Hall in Charlottesville, a stop on tour promoting their album, Hot Sox. After the show, somebody found Vinnie Taylor in his motel room, dead from a heroin overdose at age 25. The next night’s sold-out show in Pittsburgh (4,000 tickets had been sold) was canceled.
“Well, it was not unexpected to some extent,” Simon admitted. “I think anybody that has had a friend that has been dabbling in hard drugs knows there’s a possibility that the day will come. And the story where you get a batch that’s too pure, not cut enough and that’s too much — I think it’s a very common problem. Much too young. Much too young.”
They buried Vinnie Taylor in Falls Church, Virginia. Sha Na Na replaced him with Elliot Randall (famed for his guitar work on Steely Dan’s “Reelin’ In The Years”). Randall stayed with the group for about a year. Other members stepped in and moved on as Sha Na Na became an act for all ages with a syndicated television variety series and an appearance in the movie Grease (and one of the best-selling soundtrack albums of all time). Sha Na Na became mainstream.
And with that, came the imitators.
NA NA SHA
“There was a band out of Louisiana that was kind of a bar band, a show band that called themselves Na Na Sha. Yeah. ‘Na Na Sha.'” Even over the phone, you can hear Scott Simon shake his head. “And that was in the early days of Google, where if you hired somebody and sat there and typed in your name ten thousand times, you’d rise up in the Google listings. So it got to like, when you’d look up Sha Na Na, ‘Na Na Sha’ would come up number three.”
Simon got wind of the group with the disturbingly similar name some time in the 1990s, but Na Na Sha had been performing as an unauthorized Sha Na Na imitation since 1974. While the originals began as college choristers, Na Na Sha were members of a church choir in the town of Gonzales, Louisiana. Na Na Sha’s stage act was a copy, with parodies of Fifties artists from Elvis to Fats Domino, some skits and even a skinny, flexing Bowzer lookalike.
“Now what do you do with that?” Simon asked. A cease and desist letter? A lawsuit? Too much trouble. Imitators, rip-offs and “tributes” are products of success. “But tribute bands are one thing. Portraying yourself as a member of the band is another. And there are constantly people showing up, emailing, texting or sending stuff to our website saying, ‘Do you remember so-and-so? He was with your band?’ And, “No, I don’t remember. It’s nonexistent!’ Lot of claimants. But about fifty people have performed under the banner of Sha Na Na in fifty years.”
By the time Na Na Sha had surfaced, Scott Simon and the group figured they’d heard it all. Until they got word that Vinnie Taylor was back, that he’d risen from the dead and was headlining gigs in Florida.
SNN 1
He showed up in St. Petersburg on the Gulf Coast in a black customized conversion van with the license plate “SNN 1.” He was twenty years older than when he’d supposedly left this mortal coil. He still had the pompadour, but it was silvery and coiffed with hair spray instead of grease. He wore a gold satin Sha Na Na jacket. He had a gold Sha Na Na necklace. He had the shades and he had a guitar and he could really sing.
Vinnie Taylor even had a website that announced “The Bad Boy is back!”, and if anyone doubted what he claimed, he’d pull out Chris Donald’s birth and baptism certificates and a Social Security card. When someone mentioned to Vinnie Taylor that he was supposed to be dead, he explained that he’d faked his death, and spent all these years working undercover for the CIA — coincidentally, just like his dad did. That was why he had a new name, Danny Catalano — “Danny C.” to his fans.
Danny C. was Danny Catalano and Danny Catalano was Vinnie Taylor, and Vinnie Taylor was Chris Donald — and Scott Simon knew that Chris Donald was dead. He was his pal. He’d seen the corpse. So when somebody gave him a call to say there was a guy selling out clubs and performing in bars and at car shows in Florida, claiming to be Vinnie Taylor, Scott Simon wanted to scream. This guy was full of it! A fraud!
Then again, “What do you do with that?”
“It was brought to our attention at some point, but it was nothing, you know?” Scott Simon reasoned. “He was just playing small clubs in Florida. I think we sent him a cease and desist letter.”
Anything else would just give the mook more publicity.
Meanwhile, Vinnie Taylor-Danny C. was getting regular gigs and developing a real fan base. He’d found a girlfriend named Jessica. They moved in together, in an apartment right on the water. Jessica believed his tales of Sha Na Na and the CIA, and was forgiving when he acted a little funny sometimes.
“We would be in bed at night and he would just jump out of bed and run to the window,” she said. “He never wanted people coming into our apartment, and he would tell me a lot of times, ‘Whatever you do, just don’t bring up the Sha Na Na thing’.”
Danny C. had a reason to be paranoid. And his years in the CIA had nothing to do with it.
BABY KILLER
Vinnie Taylor AKA Danny C. was actually Elmer Solly — make that Elmer Edward Solly, because this kind of guy, from Lee Harvey Oswald to John Wayne Gacy, always gets all three names when you write about him.
In 1969, the year Sha Na Na was formed, Solly was living in Camden County, New Jersey. He was a bad guy back then, and an even worse drunk. Those two sides came together on the evening of July 25, 1969, three weeks before Woodstock, when, in a drunken rage, he beat his girlfriend’s son to death. Solly was twenty-three. His victim, Christopher Welsh, was a two-year-old baby.
Solly turned himself in two days later. He blamed the booze and claimed the killing was an accident. He went on trial, and on April 16, 1970, around the time Scott Simon was graduating from Columbia and joining Sha Na Na, was convicted of manslaughter. He was sentenced to 15 to 20 years and shipped off to the maximum security Trenton State Prison.
Solly had someone in his corner, though, someone who knew how to play the system. His mother, Edna Bolt, got right to work on a letter-writing campaign, claiming her son was being mistreated by guards. Her work, with help from Solly’s grandmother, got him transferred to a medium-security prison in Cumberland County in 1974.
Edna wasn’t finished. She began another letter-writing campaign, this time to get her boy a furlough, a day pass to visit some sick relative. By June, Solly was making his third visit home. He was accompanied by a psychologist instead of a prison guard. When the head-shrinker allowed him to make a detour and hook up with his girlfriend in a motel, he went in the front door and slipped out the back. Elmer Edward Solly was in the wind.
He didn’t go far — not at first. A year after he escaped, Solly was arrested in Philadelphia for receiving stolen goods. Master criminal that he was, he gave the cops a fake name. They turned him loose.
The law had another shot at Solly in 1979 when a cop pulled him over for a traffic violation in Bucks County, Pennsylvania. Again, he offered a fake name and was sent on his way.
This time he went off the radar completely.
Police leaned heavily on Solly’s mother, but she kept mum. The rest of the family stayed in line. As long as Edna was alive, they wouldn’t give the cops the time of day.
With no other leads, the state trooper in charge of the case looked at the bright side. “Our whole belief was that he would be underground, he’d be holed up in a homeless shelter somewhere and we’d never find him,” Detective Louis Kinkle said. Kinkle figured “he’d die in the woods somewhere and we’d never find him.”
Elmer Edward Solly stayed off the radar for 20 years. He remained underground until 1997, when he showed up in Florida, online, on video, in concert, in person… in plain sight.
GONE FISHIN’
“Florida is a place for misfits and losers,” Marvelous Marvin Boone, an oldies radio jock in St. Pete explained to a reporter. “You come down here, you can be Elvis’ bodyguard for a year.”
The Sunshine State is also a place where someone can take on the identity of an obscure musician from a well-known musical group and cash in on the scam. Only most of the time, he’s not a convicted baby killer or escaped convict, let alone both.
Detective Kinkle re-opened the cold case in 1999. It didn’t get any warmer until Edna Bolt died the following March. As soon as her body was cold, her widower Harry told the cops that Elmer Edward Solly was down in Florida, calling himself Danny C. The cops were more than a little surprised to find Danny C. flaunting Solly’s mug and tattoos on his website.
At 10 p.m. on May 10, 2001, six U.S. Marshals converged on Danny C.’s home at the Sand Cove Apartments. They found him on a small dock out back, fishing in the inlet. Right nearby was his van, emblazoned with his website address: www.shananadannyc.com.
When they grabbed him, Danny C. denied being the guy from Sha Na Na. He denied being Elmer Edward Solly. He could not deny his fingerprints.
When the news spread, folks in Florida admitted they had suspicions about the guy — but boy, could he sing! “I got to be honest. The guy came in, he did a good show. We had no idea,” said oldies promoter Scott Robbins. “The whole thing is insane. This is not the way Richard Kimball (from The Fugitive) conducted himself. What kind of idiot puts up a website?!”
After 27 years on the lam, Elmer Edward Solly was returned to the state prison in Trenton on May 17, 2001. He was crying and apologizing when he stepped out of the police van. He was 55 years old. He was sent to the medium-security Riverfront State Prison to serve out his sentence, with some more years tacked on for escaping. When he was paroled in 2003, he did not resume his oldies career. He wound up living in a welfare motel and died in 2007.
“Why he decided to make himself so visible, only the Lord knows,” said Screamin’ Scott Simon.
FIFTY YEARS
“It’s really not something you want to trade on or talk about too much,” Simon said of the episode. “One of the principles of PR before the new media used to be, ‘Did they spell your name right?’ And so any mention is a good mention. But you don’t want to stay in the news because a guy who killed this two-year-old child is using your name and likeness to have a performing career. It’s disgusting. But things happen, and you know, we’re generally speaking a pretty anonymous bunch of guys. It’s not like, ‘Wayne Newton– was he in the Mafia?‘”
File Elmer Edward Solly along with Na Na Sha. Remember Na Na Sha? Well, the cease and desist letter didn’t have much of an effect. They’re still out there, and booked well into 2019, the year the group will mark forty-five years imitating the real thing.
The real Sha Na Na, featuring Screamin’ Scott Simon, original members Donny York and Jocko Marcellino and four sidemen, still performs ten to twenty dates a year. The group celebrates its fiftieth anniversary (and fiftieth anniversary of its Woodstock appearance) in 2019.
“We’re trying to design a show that’s similar to a lot of other shows, where you tell the history and there’s music that illustrates the story,” Simon revealed. “It goes back to when we were a glee club, before the band got together, and shows the evolution of the whole thing through the Woodstock movie, the Grease movie, the TV show and all the years beyond.”
It also offers a chance to shine a spotlight on the real Vinnie Taylor.
“Vinnie was a good friend of mine,” Simon said. “And he was a real great player. His idol was probably Keith Richards, and he could play just about anything, could finger-pick and rock as hard as anybody. But sadly, he had his own demons, as so many people did, and left us.”
BURT KEARNS & JEFF ABRAHAM have written a book about performers who died on stage. It will be published in 2019.
MORE FROM PKM:
THE LONESOME DEATH OF DANNY RAPP: THE FRONT MAN FOR DANNY & THE JUNIORS
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https://www.therockpit.net/2023/album-review-bai-bang-sha-na-na-na/
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en
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ALBUM REVIEW: Bai Bang
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[
"Mark Diggins"
] |
2023-03-29T13:21:37+00:00
|
I met the Bai Bang guys back in the States in 2009 at a place called The Backyard Bar in Tulsa Oklahoma when we dropped in to see Gypsy Pistoleros play a warm up gig [...]
|
en
|
The Rockpit
|
https://www.therockpit.net/2023/album-review-bai-bang-sha-na-na-na/
|
I met the Bai Bang guys back in the States in 2009 at a place called The Backyard Bar in Tulsa Oklahoma when we dropped in to see Gypsy Pistoleros play a warm up gig for their Rocklahoma show. It was a great night and the local act that also played that night was also rather cool (though sadly I forget their name). So there we were – Australians lost in a foreign land with an English ‘Flamenco Sleaze band’ and a Swedish Glam Rock act named after a North Vietnamese paper mill that produced an insane amount of toilet paper. It was a great night and when you added $1 beers and $2 jello shots into the equation and the Pistoleros’ endless supply of Patron Tequila, as well as free pool and the wonderfully friendly locals it was one of those nights that remains etched in the memory.
In 2009 Bai Bang were launching ‘Are You Ready’ – a great record with a line-up that consisted of Diddi Kastenholt on Vocals, Joacim Sandin on Bass, Jonas Langebro on Drums and Pelle Eliaz on Lead Guitar. With a change of drummer to Johnny Benson that line up went on to produce some great records like ‘Livin’ My Dream’ and ‘All Around the World’ (which added second guitarist Jens Lundgren).
Four years later for 2017’s ‘Rock of life’ only Diddi remained. Two years later in 2019 for the revamp/reworked ‘Best of 4’ (Well worth investing in that one as a taster) only Diddi and new guitarist Filip Wilhelmsson and drummer Oskar Wennberg remained. These days in 2023 there’s a completely new line-up with the Perma-tanned Diddi at the helm along with new guitarists – Pelle Eliasson and Christian Lindberg, new bassist Tobbe Skogh and new drummer Micke Rosengren.
It’s with some trepidation then, that I dive into ‘Sha Na Na Na’ which to those of us old enough conjures up images of the American ‘Rock and Roll, Doo-Wop’ cover group ‘Sha Na Na’ that formed in the late 60’s and paid homage to the sounds of the 50’s! Thankfully aside from the white get up on the cover there are no pompadour or ducktail hairdos and the band hasn’t slipped back a couple of decades sonically!
Opening track ‘Sha Na Na Na’ has an almost Richard Marx vibe to it and an infectious Pop chorus and it’s all rather more poppy than I remember them previously. ‘My Favorite Enemy’ you feel is aiming for a sort of Reckless Love vibe but it’s swing-like groove does it few favors. It’s I Don’t Really Know’ that I think I was waiting for and which sounds far more like the modern Swedish Sleaze that is pretty in vogue at the minute and more like the band of old only with extra Pop weighing down the mix.
The rest of the album is a bit of a mixed bag really almost like with the new band on board Diddi is searching for that new direction, and in doing so throwing a few things out there to see what sticks. ‘I Know All the Hits’ by way of example, sounds very Eclipse whilst ‘ I Wanna Rock ‘n’ Roll’ has more of a Punk vibe, and despite a nice clean production just might be my favourite here – almost Pop Punk with an old school NYC vibe hidden somewhere beneath.
‘Motivated’ is interesting in that it comes out with a kind of Def Leppard vibe and tempo, even some of the phrasing (Kinda like ‘Animal’) and backing vocals, but there’s no real hook sadly. And with ‘All Alone’ another slower number you feel that teh balance is swayed a little too much in favor of the slower tunes. Nice song though, another of my picks from the record. ‘It’s Enough’ is another mid-tempo number ad to an extent that’s my issue with this record – it is predominantly one paced.
Even a cover of ABBA’s ‘Rock Me’ seems a little of a missed opportunity to really crank it up. We close in style though despite the tempo not really picking up any for ‘Having a Show’ which again hints at that Def Leppard sound with a nice twist; and closer ‘That’s All I Need (Wha Wao Wa)’ that I initially thought was a reprise of the previous song it’s that sonically similar, ain’t bad either.
Aways great to hear something new from Bai Bang, but if you’re starting off with this band perhaps don’t start here.
7 /10
|
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8788
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dbpedia
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2
| 69
|
https://www.oldies.com/artist-songs/Sha-Na-Na.html
|
en
|
Sha Na Na ~ Songs List
|
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|
https://d1wj8oqehjepyy.cloudfront.net/img/favicon.ico
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OLDIES.com
|
https://www.oldies.com/artist-songs/Sha-Na-Na.html
|
Tracks of Disc 1
14.Christmas (Baby, Please Come Home)
15.Santa Claus Is Comin' to Town
16.I Got the Blues for Christmas
17.The Santa Bop
18.The Rockin' Dreidel Song
19.Bad Christmas Eve
20.Wish You Were Here
21.Say Ho Ho Ho
22.This Is My New Year's Resolution
23.Feliz Navidad
1.Ugly Christmas Sweater
2.Rockin' Around the Christmas Tree
3.Rock Rudolph Rock
4.Ain't No Holly in Hollywood
5.Christmas Bells
6.Santa's on a Diet
7.You're All I Want for Christmas
8.I Saw Mama Twistin' `With Santa Claus
9.Angel for Christmas, An
10.I Want to Rock 'n Roll for Christmas
11.Jingle Bells
12.Blue Christmas
13.Run Run Rudolph
Sha Na Na also appears in this compilation
Tracks of Disc 1
1.American Woman
2.Brother Louie
3.Miracles
4.Amie
5.Walk on the Wild Side
6.The Rapper
7.The Sweet
8.Saturday
9.Joanne
10.Without You
Tracks of Disc 2
1.Ooh Child
2.Didn't I (Blow Your Mind This Time)
3.Midnight Train to Georgia
4.Lover or Let Me Be Lonely
5.Shame
6.Turn the Beat Around
7.Rock the Boat
8.Dream Merchant
9.One Less Bell to Answer
10.I'll Never Love This Way Again
Tracks of Disc 3
1.Knock Three Times
2.Brand New Key
3.Sara Smile
4.All by Myself
5.Seasons in the Sun
6.Put Your Hand in the Hand
7.Life Is a Rock (But the Radio Rolled Me)
8.(Just Like) Romeo and Juliet
9.Torn Between Two Lovers
10.Midnight Blue
Sha Na Na also appears in this compilation
Your Study Guide to Four Decades of History-Making Hits!
Tracks of Disc 4
3.Temptation Eyes
4.Don't Pull Your Love (Out)
5.Rocky Mountain Way
6.Free Bird
7.Woodstock
8.Drift Away
9.Only You Know And I Know
10.Funk 49
Tracks of Disc 1
1.Rock The Boat
2.Without You
3.Tie A Yellow Ribbon 'Round The Old Oak Tree
4.My Angel Baby
5.Here You Come Again
6.Best Thing That Ever Happened To Me
7.My Maria
8.Everybody Plays The Fool
9.Amie
10.The Wonder Of You
Tracks of Disc 2
1.I'm Your Boogie Man
2.The Streak
3.Draggin' The Line
4.Pillow Talk
5.She's Gone
6.Freddie's Dead (Theme From Superfly)
7.Love On A Two Way Street
8.Jim Dandy
9.Good Times
10.Raindrops Keep Fallin' On My Head
Tracks of Disc 3
1.Knock Three Times
2.Brand New Key
3.Sara Smile
4.All By Myself
5.Seasons In The Sun
6.Put Your Hand In The Hand
7.Life Is A Rock (But The Radio Rolled Me)
8.(Just Like) Romeo And Juliet
9.Torn Between Two Lovers
10.Midnight Blue
Tracks of Disc 4
1.Radar Love
2.Kiss You All Over
Sha Na Na also appears in this compilation
Tracks of Disc 1
1.Knock Three Times
2.Brand New Key
3.Sara Smile
4.All By Myself
5.Seasons In The Sun
6.Put Your Hand In The Hand
7.Life Is A Rock (But The Radio Rolled Me)
8.(Just Like) Romeo And Juliet
9.Torn Between Two Lovers
10.Midnight Blue
Sha Na Na also appears in this compilation
Tracks of Disc 1
1.Candida
2.Coconut
3.Dear Prudence
4.Lay Down (Candles In The Rain)
5.Top Forty
6.Day By Day
7.She Lets Her Hair Down (Early In The Morning)
8.Silver Moon
9.My Way
10.Back When My Hair Was Short
Tracks of Disc 2
1.No Time
2.One Toke Over The Line
3.Teenage Head
4.Perfect Day
5.New Values
6.Walk On By
7.Friends
8.Money Honey
9.Sincerely
10.Rock Around The Clock
Tracks of Disc 3
1.Rich Girl
2.Count On Me
3.Damned If I Do
4.Mammy Blue
5.Troglodyte (Cave Man)
6.Fire
7.Hold Back The Night
8.I'll Play The Fool
9.N.Y., You Got Me Dancing
10.Slow Dancing
Tracks of Disc 1
1.Remember Then
2.Come Go with Me
3.Chantilly Lace
4.Little Darlin'
5.Long Tall Sally
6.Book of Love
7.Rock & Roll Is Here to Stay
8.Young Love
9.A Teenager in Love
10.Little Girl of Mine
11.Heartbreak Hotel
12.Teen Angel
13.Silhouettes
14.Lovers Never Say Goodbye
15.Yakety Yak
16.Jailhouse Rock
17.Duke of Earl
18.Tell Laura I Love Her
19.Blue Moon
20.I Wonder Why
21.Great Balls of Fire
22.Rock & Roll Is Here to Stay
23.Only One Song
24.Depression
25.Canadian Money
26.Top Forty
27.Ruin My Blues
28.Just a Friend
Tracks of Disc 1
1.Sunday Morning Radio
2.Sea Cruise
3.You Can Bet They Do
4.Bounce In Your Buggy
5.It Ain't Love
6.(The Vote Song)
7.Sleepin' On A Song
8.Bless My Soul
9.So Fine - You're So Fine
10.Oh! Lonesome Boy
11.It's What You Do With What You Got
12.Glasses
13.In The Still Of The Night
Tracks of Disc 2
1.Lover's Question
2.His Latest Flame
3.Pretty Little Angel Eyes
4.Chantilly Lace
5.Why Do Fools Fall In Love
6.Little Darlin'
7.Heartbreak Hotel
8.Wild Weekend
9.Get A Job
10.Rock Around The Clock
11.Tears On My Pillow
12.Tell Laura I Love Her
13.Yakety Yak
14.Jailhouse Rock
15.Blue Moon
16.Teenager In Love
17.I Wonder Why
18.Runaround Sue
19.Sixteen Candles
20.Whole Lotta Shakin' Going On
21.Shake, Rattle 'N' Roll
22.Rama Lama Ding Dong
23.Sea Cruise
24.Walk Don't Run
25.At The Hop
26.Rock 'N' Roll Is Here To Stay
27.Hound Dog
28.Great Balls Of Fire
29.Lovers Never Say Goodbye
Tracks of Disc 1
1.At the Hop
2.Pony Time
3.Peppermint Twist
4.Willie and the Hand Jive
5.Queen of the Hop
6.The Stroll
7.Save the Last Dance for Me
8.(Baby) Hully Gully
9.You Can't Sit Down
10.The Twist
11.The Hokey Pokey
12.Rockin' Robin
13.Party Doll
14.Everybody Loves to Cha Cha Cha
15.Let's Dance
16.Rock 'N' Roll Is Here to Stay
Tracks of Disc 1
1.At the Hop
2.Whole Lotta Shakin'
3.Come Go with Me
4.Chantilly Lace
5.Tonight Tonight
6.Hit the Road Jack
7.Splish Splash
8.I Fought the Law
9.Rock Around the Clock
10.Tossin' and Turnin'
11.Summertime Blues
12.Goodnight, Sweetheart, Goodnight
13.Don't You Remember
14.One More Saturday Night
15.Motor Man
Sha Na Na also appears in this compilation
Tracks of Disc 1
10.The "Fish" Cheer/I-Feel-Like-I'm-Fixin'-To-Die Rag (2019 Mix)
11.Jingo (2019 Mix)
12.Soul Sacrifice (2019 Mix)
Tracks of Disc 2
1."Helen Savage, please call your father" (2019 Mix)
2.Darling Be Home Soon (2019 Mix)
3."It's not poison!" (2019 Mix)
4.Going Up The Country (2019 Mix)
5.On The Road Again (2019 Mix)
6."Country common sense" (2019 Mix)
7.Dark Star (2019 Mix)
Tracks of Disc 3
1."We've got the keys to your house" (2019 Mix)
2.Bad Moon Rising (2019 Mix)
3.I Put a Spell On You (2019 Mix)
4.Kozmic Blues (2019 Mix)
5.Piece Of My Heart (2019 Mix)
6.Medley: Dance To The Music / Music Lover / I Want To Take You Higher (2019 Mix)
Tracks of Disc 4
1.We're Not Gonna Take It (2019 Mix)
2.My Generation (2019 Mix)
3.Somebody To Love (2019 Mix)
4.Volunteers (2019 Mix)
5."We must be in Heaven, man!" (2019 Mix)
6."I think you people have proven something to the world" (2019 Mix)
7.With A Little Help From My Friends (2019 Mix)
8."Looks like we're gonna get a little bit of rain" (2019 Mix)
9.I'm Going Home (2019 Mix)
Tracks of Disc 5
1.The Weight (2019 Mix)
2.Spinning Wheel (2019 Mix)
3.Suite: Judy Blue Eyes (2019 Mix)
4.Sea Of Madness (2019 Mix)
5.Wooden Ships (2019 Mix)
6.Love March (2019 Mix)
7.At The Hop (2019 Mix)
8."It's been a delight seeing you" (2019 Mix)
Tracks of Disc 1
1.Handsome Johnny (2019 Mix)
2.Freedom (Live at Woodstock, Bethel, NY, 8/15/1969) [2019 Mix]
3."Everybody's ground getting comfortable?" (2019 Mix)
4.Reason To Believe (2019 Mix)
5."It's deadly serious, man" (2019 Mix)
6.Coming Into Los Angeles (2019 Mix)
7."Lotta freaks!" (2019 Mix)
8.Drug Store Truck Drivin' Man (with Jeffrey Shurtleff) [2019 Mix]
9."Please come down" (2019 Mix)
|
|||||
8788
|
dbpedia
|
3
| 7
|
https://www.britannica.com/topic/Sha-Na-Na
|
en
|
Sha Na Na | American musical group
|
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Other articles where Sha Na Na is discussed: Pat Boone: …such as the Ventures and Sha Na Na. He also released his own music on the label, including the patriotic American Glory (2002) and an album of love songs, Near (2011). He later issued Legacy (2014), a collection of original religious songs. In another change of direction, he then recorded…
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/topic/Sha-Na-Na
|
In Pat Boone
…such as the Ventures and Sha Na Na. He also released his own music on the label, including the patriotic American Glory (2002) and an album of love songs, Near (2011). He later issued Legacy (2014), a collection of original religious songs. In another change of direction, he then recorded…
Read More
|
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8788
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0
| 31
|
https://www.change.org/p/rock-and-roll-hall-of-fame-allow-sha-na-na-to-hotdog-into-the-rock-roll-hall-of-fame
|
en
|
Petition · Allow Sha Na Na to hotdog into the Rock & Roll Hall of Fame
|
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[] |
[] |
[
""
] | null |
[
"Shannon Callahan"
] |
2018-06-12T00:13:54+00:00
|
Put simply: Dip Didda Dip Dow! What more CAN be said to prove how necessary it is to induct Sha Na Na into the Rock and Roll Hall of Fame? Oh, Golly... maybe a song they wrote CALLED Rock and Roll hall of fame? https://www.youtube.com/watch?v=BiO9gt0mLcY(A quick glance down to the comment section will demonstrate that band members have been proud patrons of the fine establishment they so deserve
|
de
|
Change.org
|
https://www.change.org/p/rock-and-roll-hall-of-fame-allow-sha-na-na-to-hotdog-into-the-rock-roll-hall-of-fame
|
Put simply: Dip Didda Dip Dow! What more CAN be said to prove how necessary it is to induct Sha Na Na into the Rock and Roll Hall of Fame? Oh, Golly... maybe a song they wrote CALLED Rock and Roll hall of fame? https://www.youtube.com/watch?v=BiO9gt0mLcY
(A quick glance down to the comment section will demonstrate that band members have been proud patrons of the fine establishment they so deserve to join)
Sure, you might think of this music as a 'little something for daddy' these days, but that's because these guys have been killing themselves at this rock game for going on 50 years! Are you looking for some other poems and observations, humorous and otherwise, to prove these cool cats mettle? How about you tune into American Film Institute cataloged film, Grease, and tell me you toe isn't a tappin'! (specifically during the Hand Jive). These guys have basically been trainers to the stars of rock, and have been seeking the stars of recognition!
|
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| 28
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https://ivankreilkamp.com/2008/06/09/prof-sha-na-na/
|
en
|
Prof. Sha Na Na
|
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[
"INGRID NORTON",
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2008-06-09T00:00:00
|
I have to say, Sha Na Na (stupidest band name ever?) is just about the last group whose members I would have expected to go into academia. Also, can I observe that Sha Na Na did not "make doo-wop avant-garde," they just turned it into an irritating parody and paved the path for Happy Days…
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https://s1.wp.com/i/favicon.ico
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Ivan Kreilkamp
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https://ivankreilkamp.com/2008/06/09/prof-sha-na-na/
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http://chronicle.com/weekly/v54/i40/40a00601.htm
From the issue dated June 13, 2008
From Rock ‘n’ Roll Stardom to Academe
How do you top the thrill of playing at Woodstock? By going to graduate school, of course.
Just ask the members of Sha Na Na, who were the penultimate act at the legendary 1969 rock festival, in the slot just before Jimi Hendrix. Of Sha Na Na’s 12 original members, eight went on to get advanced degrees. The musicians, who blended doo-wop choruses with blazing dance moves, formed from a Columbia University a cappella group in the late 60s….
“I don’t think I ever went to a rock concert till I was in a rock concert,” says Rob A. Leonard, a founding member and, today, a professor of linguistics at Hofstra University.
Sha Na Na was the brainchild of Rob Leonard’s brother, George, who was working on his Ph.D. George J. Leonard, now a professor of interdisciplinary humanities at San Francisco State University, wanted to revive 50s innocence through doo wop, making it avant-garde. …
“After that, my college experience was completely abnormal,” says Bruce C. Clarke, a professor of literature and science at Texas Tech University.
Members balanced lives as rock stars and students by taking classes that met in the middle of the week and touring on extended weekends. Rob Leonard, who would later do years of research in East Africa, originally took Swahili because it was the only introductory language class that didn’t meet on a Friday. Rich T. Joffe, who got a Ph.D. after leaving the group but is now an antitrust lawyer, remembers reading an introductory economics textbook on an airplane while the rest of his severely hung-over bandmates tried to sleep.
….Mr. Clarke put himself through his first few years of graduate school with money he’d saved from tours. Alan M. Cooper, now provost and a professor of Jewish studies at the Jewish Theological Seminary, wondered if he should go back to the band when he couldn’t find housing at Yale graduate school. ….All agree that Sha Na Na shaped them professionally. Mr. Cooper still relies on his performance instincts when he teaches.…
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https://www.facebook.com/p/Sha-Na-Na-100063527949722/
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://dangerousminds.net/tag/Sha-Na-Na
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Tags: Sha Na Na
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Dangerous Minds is a compendium of the new and strange-new ideas, new art forms, new approaches to social issues and new finds from the outer reaches of pop culture. Our editorial policy, such that it is, reflects the interests, whimsies and peculiarities of the individual writers. We are your favorite distraction.
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The Kings of New York, Sha Na Na
Those of you that are of (ahem) a certain age will certainly remember faux-50’s band Sha Na Na not only for their music but also for their syndicated television show that ran from 1977 to 1981. I was absolutely obsessed with that show, and adored the band’s goofy antics and faithful fashion homages to the 1950s from the top of their greased back hair, to the seams on the famous gold lamé pants worn by Frederick “Dennis” Greene, Johnny “Kid” Contardo, and Scott “Tony Santini” on the show—one of the most popular in TV syndication at the time.
In addition to appearances in the film 1978 Grease (where the band was depicted as a fictional 1950s band called Johnny Casino and the Gamblers), Sha Na Na was also featured on the films wildly popular soundtrack, and the tearjerker “Sandy” (sung by John Travolta) was co-written by Sha Na Na’s Screamin’ Scott Simon, who got his start with the band playing piano back in 1970, and still performs with them to this day. In this footage (which I’m pretty sure is gonna blow your mind), the band performs nineteen songs for the enthusiastic studio audience in attendance for a taping of German music television show Musikladen in 1973.
From the minute they hit the stage, it’s clear that we are all in for some high-octane doo-wop, class-act choreography, and the visual treat that is the gangly, rock-and-roll Frankenstein known as “Bowzer” (Jon Bauman)—he’s probably the most recognizable member of the group, too. Since departing Sha Na Na, Bauman continues to tour as his alter-ego “Bowzer” with his group The Stingrays and was also instrumental in helping the passage of the Truth in Music Act—a law that protects musicians and bands from identity theft. Now that’s fucking rock and roll.
The gold lamé suits worn by Sha Na Na that drove my young libido into overdrive back in the late 70s
And what about those skin-tight gold lamé suits (pictured above)? While conducting my very important “research” for this post, I discovered that all three of them are currently up for sale (along with the matching gold lamé boots and belts, thank you very much) for the tidy sum of $2,500. A small price to pay for a piece of rock and roll history that I’d do almost anything to squeeze myself into (those boys were tight back in the day, to say the least). I’ve probably watched this footage at least five times since stumbling on it and every time I do, it gets better. As one commenter on the Youtube page said, “this deserves a million likes.” To which I say AMEN, brother. If you dig it as much as I do, you can get your very own DVD of the show, here. Enjoy!
Sha Na Na on German music television show, Musikladen in 1973.
Previously on Dangerous Minds:
Sha Na Na feud with the Ramones
Do you remember Rock ‘n’ Roll radio? Do you remember shitty ‘70s variety show TV?
Do you remember when goofball nostalgia act Sha Na Na invited the Ramones to a “Greaser’s Feud”?
Formed in 1969, Sha Na Na managed to secure an inexplicable spot at Woodstock that very same year—preceding Jimi Hendrix, no less. It was only their eighth gig. Their brief appearance in the film version of that festival catapulted them to retro-greaser stardom, and according to their website, they’re still an active group.
In the late seventies Sha Na Na also inexplicably managed to land a TV deal. Their show ran from 1977 to 1982 and consisted mainly of silly sketch comedy and musical numbers featuring guest stars. And if the Internet’s memory is correct, the Ramones stopped by to participate in the Sha-Na-Nanigans on May 9th, 1979. The skit they appear in is a parody of the game show Family Feud called “Greasers Feud” hosted by Sha Na Na member Jon “Bowzer” Bauman. Oddly enough, Bauman would later go on to host game shows in real life, including The Hollywood Squares.
The Ramones all have awkward speaking parts in this little skit, but moments later, they launch into a rousing version of “Rock ‘n’ Roll High School”—which to my ears, sounds like a different recording than the album version even though it is clearly canned miming.
Of course, one of the best things about this video is seeing members of Sha Na Na dressed as women and dancing in the street to punk rock.
Naturally, no one could have guessed that a group formed in 1969 would outlive all four founding members of the Ramones, but if that’s what it means to win “Greasers Feud,” then Sha Na Na definitely has a leg up on the competition. However, in a strange coincidence I just discovered completely by accident that Sha Na Na founding member Dennis Greene died just days ago.
So, if Marky Ramone can manage to stay alive for a few more years, he may very well prove to be the last greaser standing.
Just when you think you’ve heard it all, right about at the point when it seems that the United States could not get any more odd, a story like the one I’m about to relate rears it’s head from the annals of the Internet reminding you about how completely insane this entire thing we all call the “American Experience” can be and has always been. This, readers, is the story of Edward Elmer Solly, a convicted fugitive child killer who, after escaping from jail in 1974 and hiding in plain sight, went on to make a living for himself by impersonating and claiming to be deceased Sha Na Na guitar player, Vinnie Taylor.
As many of you already know, Sha Na Na formed in 1968 as an intentionally retro act imitating doo-wop groups from the 1950’s, slicking back their hair and dressing like what could have been Elvis’ personal, gold lame donning entourage. Famously, they played Woodstock, had a syndicated T.V. show that ran from 1977 to 1981 and appeared in the movie Grease in 1978. Vinnie Taylor (born Chris Donald) was not in the group at the time of the Woodstock performance, joining the band as lead guitarist in 1971. Sadly, Taylor died of an accidental heroin overdose in 1974, so he wasn’t part of the group during the Grease period, either, but he left an indelible mark on the band of anachronistic performers.
The real Vinnie Taylor, 1973
Fast forward to May of 2001 when a guy by the name of Edward Elmer Solly gets arrested while, according to a New York Times report on the incident, “fishing for snook from a pier in St. Petersburg, Florida.” But Solly wasn’t being arrested for fishing without a license. His capture was in fact the result of years of searching. You see, in 1969, Solly was convicted for killing the 2-year-old son of his then-girlfriend, Linda Welsh, in Runnemede, New Jersey in what was allegedly a drunken rampage. He was sent to jail, but escaped in June of 1974 while, according to the New York Times article, “on furlough to visit a dying sister.”
Sha Na Na circa 1972
Amazingly, somewhere in the mean time between his 1974 escape and his 2001 capture, Solly made the seemingly insane choice for a wanted man of turning himself into somewhat of a public figure by impersonating Vinnie Taylor in a variety of doo-wop acts in Florida. Solly told people that he had changed his stage name to “Danny C” from Vinnie Taylor, who Solly claimed had faked his death in 1974 for personal reasons.
In a 2004 CBS News article about Solly, Rebecca Leung reported that:
In Florida, doo-wop bands have always been a hit in bars and clubs along the beach. That’s where Tommy Mara’s group, The Saints, and Joe Locicero’s group, The Mello Kings, became two of Florida’s top local groups.
Both men remember being thrilled that living legend and former Sha Na Na singer Vinny Taylor had moved to town.
“You know, he had the talk,” says Mara. “He talked the talk and he walked the walk.”
The former bad boy of Sha Na Na said he had a new stage name: Danny C. And he even had his own Web site, where fans could log on and see all the rock ‘n’ roll legends he performed with over his career.
Locicero and Mara couldn’t believe their luck when Danny C asked their groups to back him up on stage.
“We featured Tommy and The Saints, and then we featured Danny C from Sha Na Na,” says Mara. “Sold it out.”
People from Sha Na Na eventually got wind of Solly’s act (he had a website for crying out loud, and a minivan with the web address printed prominently on the side) and, not knowing that he was on the run from the law, long-time Sha Na Na member, Peter Erlendson even sent Solly a cease-and-desist email asking him to stop performing as Taylor. According to a 2001 article on Philly.com, Solly actually responded to the email and even tried to convince Erlendson that he was in fact Vinnie Taylor and that Taylor had faked his death. According to the article, Erlendson said “I can assure you Vinnie is dead. He was a friend.” Sha Na Na threatened a lawsuit, but allegedly didn’t follow through because they didn’t want to give Solly any more undue attention.
More of this strangeness after the jump…
READ ON▸
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https://paydayreport.com/seniors-breaking-dems-pa18-bowzer-sha-na-na-tours-pizza-parlors-western-pa-rallying-support/
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en
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With Seniors Breaking for Dems in #PA18, Bowzer of Sha Na Na Tours Pizza Parlors of Western PA Rallying Support
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2018-03-09T00:43:06+00:00
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Hempfield, PA - "I love this crowd, this is exactly my kind of crowd!" shouted Jon "Bowzer" Bauman of Sha Na Na fame as he set up his piano in the back room of Lilja's Pizza in...
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en
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Payday Report
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https://paydayreport.com/seniors-breaking-dems-pa18-bowzer-sha-na-na-tours-pizza-parlors-western-pa-rallying-support/
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Hempfield, PA – “I love this crowd, this is exactly my kind of crowd!” shouted Jon “Bowzer” Bauman of Sha Na Na fame as he set up his piano in the back room of Lilja’s Pizza in Hempfield, PA while a crowd of 30 local Westmoreland County Democratic Committee Members passed the hat to share the cost of that night’s pizza pie.
“I love Western PA,” Bauman said as he unbuttoned his shirt to reveal a Steelers t-shirt. Western PA is familiar territory for the Bowzer, whose band Sha Na Na would sometimes sell out three nights in a row at the old Stanley Theater back in the late 1970s when their TV show was a smash hit.
“I love being here with all of you,” said Bauman as his voice shifted into TV-character mode. “And I’m here to say that on the night of March 13th, Conor Lamb is gonna be doing this!” Bauman then gave his signature fist bump as the attendees put down their pizza to clap for him.
The 70-year-old “Bowzer” was featured in the movie Grease and his band Sha Na Na opened Woodstock for Jimi Hendrix, but he is best remembered for his hit variety show Sha Na Na that was focused on the music of the 1950s and syndicated nationally for four years.
A pioneer in the field of reviving 1950s Doo Wop, which he dubs “the classical music of Rock N’ Roll,” Bauman occupies a unique position for a celebrity. For a generation of millennials, he is as obscure as the soda shops where doo-wop once roared from radio speakers, but to a generation of people approaching retirement age, he remains a household name.
After he finished his warm-up routine, the “Bowzer” got serious and began speaking in the voice of Jon Bauman, political activist.
“You all know that I love the music of the 50s and 60s, but that does not mean that I want to return to the 50s and 60s,” Bauman explained. “The early 60s were a time before Medicare when over 35% of the senior population lived below the poverty line.”
“And I certainly don’t want to return to a time before Social Security was passed in 1935 when, think about this: over 50% of Americans over the 65, more than 1 out of every 2 seniors, lived in poverty,” said Bauman.
“Social Security and Medicare are two of the most important social programs in the entire history of the United States of America and we need to keep them intact,” Bauman said, his careful remarks earning the wild applause to the crowd.
Still a self-described “roadhog” at age 70, “Bowzer” now performs 100 events a year on behalf of candidates supporting his progressive politics. He says that while he may not be the biggest name anymore, his skill as a performer and charismatic presence still inspire people.
“I think my celebrity helps with revving up the troops, getting people excited to do the stuff they are doing anyways in some cases, but, you know, I’m trying to get them further motivated to do it even more and realize how important it is,” said Bauman.
“Volunteers are more than just the lifeblood of campaigns,” Bauman continued. “They are way more important to campaigns than the volunteers could ever realize but often there is no one to tell them that. I go out of my way to remind them how valuable they are. People knocking on doors are tremendously important because that’s how you win.”
Tonight, “Bowzer” is pitching the activists in Westmoreland County on the necessity of promoting Social Security issues when going door-to-door in the district on behalf of Conor Lamb in the #PA18 special election.
Recent polling by Monmouth shows that while voters overall are breaking for Rick Saccone by a margin of 49%-46%, seniors are breaking for Lamb by a margin of 50-46%.
Nearly all polling shows Lamb tied head-to-head with Saccone, and all polls show seniors constituting one of his key bases of support.
In 2016, seniors voted for Trump by a margin of 53%-45%. If seniors in Western Pennsylvania break for Lamb, Bowzer remains convinced that Paul Ryan’s plan to cut Social Security and Medicare would be essentially dead in the water.
My native Westmoreland County is where the Democrats will have to stop the bleeding if they are to win. While polling from Monmouth shows Lamb leading by a margin of 54% to 40% in the white-collar suburban Pittsburgh areas of Allegheny County and running neck-and-neck in coal counties like Greene and Washington along the district’s West Virginia border, it is in Westmoreland where his campaign could ultimately falter as he trails Saccone by a staggering margin of 63% to 32%.
“You guys really are ground zero,” Bauman told the Westmoreland County crowd. “The whole country is watching this.”
With Pennsylvania having the fourth highest opioid death rate in the country, former federal drug prosecutor Lamb has used his campaign ads to focus on how important entitlements like Social Security and Medicare are to the ravaged region.
“I met a guy the other day who is 65, and he was taking care of his 14-year-old niece because there was no one else to do it,” said Lamb in his TV ad “Entitlements.” “And if you mess with his Social Security, he won’t be able to take care of her anymore.”
As seniors over age 65 make up a whopping 140,000 voters in the district, Lamb’s focus on senior issues will likely make the difference between victory and defeat. And it’s an issue that resonates deeply with many people including himself, “Bowzer” explained to the crowd.
“I refer to doo-wop as the classic music of rock n roll, but a lot of you don’t know that I started out in real classical music that sounds like this,” said Bauman as he played a few notes of Chopin on his portable piano.
“I started playing the piano when I was 7 years old and I started at the Juilliard School of Music at age 12. If you are a little kid learning how to play classical music in New York City, going there is a dream come true,” said Bauman.
Finally, in 1973, “Bowzer” and his band Sha Na Na were invited to play at Carnegie Hall.
“So there we were, Sha Na Na playing at Carnegie Hall,” said Bauman as he once again dropped into his TV character’s voice.
“And in the third row was the only person standing, in the entire audience of Carnegie Hall: my mother, Bessy Bauman, the woman who forced me to practice and she stood proudly in Carnegie Hall as her son played ‘Rama Lama Ding Dong.’ And she waved and she shouted and said ‘Jonathan, you made it’ because to my mother, whether it was Chopin’s ‘Minute Waltz’ or ‘Rama Lama Ding Dong,’ Carnegie Hall was Carnegie Hall,” Bauman explained.
Turning back to his activist voice, he then segued into a more serious story by playing his mother’s favorite melody, Chopin’s subdued “Prelude in E Minor.”
After he stopped playing, “Bowzer” broke the somber mood of the room to speak of his father’s passing in 1973.
“After my father passed away, her life would have been a whole heck of a lot different if it hadn’t been for Social Security and her Medicare. Remember, Medicare was a new program that started in 1965 and we are talking about this happening in 1973,” said Bauman.
“So I know firsthand in the same way that most other Americans do about how important those programs have been to lives of older Americans, how important it is for us to fight every single minute and work to elect leaders who will advance the quality of life for older Americans rather than going backwards in the way that Republicans in Congress have wanted to take us,” Bauman said.
Finally, Bauman closed the show with his signature “Good Night, Sweetheart,” interrupting the chorus lines with his signature greaser fist pump.
“Grease is for peace!” proclaimed “Bowzer.”
“Wow,what a show…thank you,” said 70-year-old former State Senator Allen Kukovich as he clapped from the front row.
After Bauman finished speaking, over a dozen activists lined up to get an audience. As “Bowzer” signed autographs and talked to people, many in the crowd came up and embraced him.
As Bauman was wrapping up his impromptu autograph session, a man wearing a Canadian tuxedo — all denim apparel from head to toe — calling himself “Fast Eddie” from a local doo-wop band entered the dining room via the bar area and asked, “Is that Bowzer?”
When I said “yes,” he just couldn’t believe it.
“Wow Bowzer, what are you doing here?” shouted Fast Eddie. “What are you doing in Lilja’s Pizza?”
The answer was simple: for Jon “Bowzer” Bauman, this is simply his kind of joint.
“I’ve played all kinds of big shows, but these events are more rewarding and more important than the arena rallies during campaigns,” said Bowzer as the crowd at Lilja’s Pizza milled around, everyone still waiting for a chance to talk with the aging but dedicated doo-wop star.
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http://www.ashevilledailyplanet.com/news/5874-an-original-sheds-light-on-sha-na-na-and-how-it-spawned-doo-wop-revival-miscast-50s-as-golden-era
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An ‘original’ sheds light on Sha Na Na — and how it spawned doo
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Asheville Daily Planet provides local news, entertainment, sports, and more for Asheville and Western North Carolina.
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Asheville Daily Planet
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http://www.ashevilledailyplanet.com/news/5874-an-original-sheds-light-on-sha-na-na-and-how-it-spawned-doo-wop-revival-miscast-50s-as-golden-era
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By JOHN NORTH
This e-mail address is being protected from spambots. You need JavaScript enabled to view it
A discussion on the musical and cultural impact of Sha Na Na — formed in 1969 as a doo-wop revival band that unexpectedly impressed guitar-great Jimi Hendrix who helped pave the way for the band’s unlikely smashing national debut at the famed Woodstock Music Festival (a few months later) in August 1969 — was held Nov. 2 during the Music to Your Ears session at the Asheville Guitar Bar in Asheville’s River Arts District.
The 90-minute program, which drew a full house of about 30 attendees, featured Elliot “Gino” Cahn — a founding member of Sha Na Na (who sang and played rhythm guitar) and now is an Asheville-area resident — in an “interactive” discussion (including a few breaks to listen to recordings by the group) with Asheville-based author and music journalist Bill Kopp.
Periodically, the program was opened to questions from audience members for Cahn. And there were many questions, including afterward. (Cahn is now mainly an entertainment lawyer, but still loves performing music.)
A revelation to emerge from Cahn’s talk was his contention that Sha Na Na members agreed from the start to capitalize off the idea that the band should present the America of the 1950s as Americans, in 1969, wanted to remember it, instead of the rather ugly way it really was.
Before the program began, Kopp, the host, played over the Asheville Guitar Bar’s sound system covers — by Sha Na Na — of several doo-wop classics, including the following:
• “Get a Job” — a song originally recorded by The Silhouettes that sold more than 1 million records and reached No. 1 on both the pop and rhythm and blues record charts in 1958.
• “Teen Angel” — a song originally recorded by Mark Dinning that hit No. 1 on the Billboard chart in 1960, despite the reported initial reluctance of some disc jockeys to play it because of its morbid subject matter — a teenager’s car stalls on the railroad tracks.
• “Book of Love” — a song originally recorded in 1958 by The Monotones that reached No. 5 on the pop chart and No. 3 on the R&B chart.
(In a brief interview after the program, Cahn told the Daily Planet that he grew up singing doo-wop music with groups in New York City, including outside under the streetlamps at night, as welll as singing in any other locales available. He said he also had deeply experienced listening and singing to jukebox music in diners and elsewhere. What’s more, he admitted a deep love for doo wop music.)
The formal program began with Cahn noting that, while attending Columbia University, he joined what is billed as the school’s “oldest and finest” all-male a cappella group “since 1948,” the Columbia Kingsmen, where, in Ivy League style, he said with a laugh, “it was blazers with repp ties (classic, diagonally striped silk ties) and grey flannels (trousers).”
The group performed about three times a year, he said, recalling that it once performed for the the “psych ward” at a local hospital, where, he noted that, in an ironic twist, the group “sang Little Anthony and the Imperials’ ‘Goin’ Out of My Head,” a 1965 hit that was a major leap from the Columbia Kingsmen’s usual repertoire — but was well-received by both the staff and the mental patients.
“I took over the musical direction of this group when I was a sophomore. We did more folk-rock stuff,” at first. “But we still wore navy blue (blazer) jackets, ties and grey flannel pants.”
After a pause, Cahn said, “We had someone (George Leonard) in the group who was obsessed with pop culture and trivia — and he put on the first All-Ivy Trivia Contest, at which Sha Na Na performed The Diamonds’ “Little Darlin’,” a 1957 doo-wop classic
At that point, Sha Na Na’s cover of “Little Darlin’” then was played over The AshevilleGuitar Bar’s sound system.
Cahn reiterated that, standing in a semi-circle, “we did this (song), wearing navy blue (blazer) jackets, ties and grey flannel pants.”
According to an essay, “Sha Na Na and the Woodstock Generation,” it was during the group’s performance at the trivia contest that “when Rob Leonard did the spoken solo (of “Little Darlin’” when the audience reaction was so intense that George Leonard (already studying choreography) had his vision of a group that would sing only ‘50s rock and perform dances like the Busby Berkely films Susan Sontag had taught George to love.”
The essay added, “By great luck, George and Rob found in the (Columbia) Kingsmen Elliot Cahn and Al Cooper, who could rewrite simple doo-wop harmonies into operatic compositions for 12 voices....”When the school’s fraternities decided to throw a spring 1969 carnival, the essay noted, George Leonard said that if they hired the Columbia Kingsmen at $100 per man, he would repackage it as the First East Coast Grease Festival and advertise it up and down the East Coast.
The essay noted that “the Grease Festival turned out to be the first taste of Woodstock, three months later. Five thousand spaced-out, peaceful freaks from Harvard to Virginia made a bobbing sea of heads beneath the (Columbia) Kingsmen, who performed on the steps next to (their) alma mater. It was a grand ending for the Class of ‘69, soon to be called The Woodstock Generation.”
To that, Cahn added with a smile, “We threw a party with a flyer called, ‘Come as you were.’”
To much acclaim, “we played our set (of all of the doo wop songs that the group had rehearsed) — and then they made us play our set again,” Cahn said. “That’s all we knew. So something kind of clicked” with the crowd becoming so ecstatic over the doo wop music.“
Then someone laid out a plan,” Cahn explained. “In 1969, the whole country was yearning for a return to the 1950s — even though many people were trying to forget that the ‘50s even happened.
“This guy, George Leonard, soon told the other members of the Columbia Kingsmen that “if you do it exactly as I say it, you’ll be the heroes” of their generation and beyond.
When one of the group members objected, noting, “But George, only one of us ever even played in a band before,” Cahn said, “He (Leonard) looked at us and said (merely), ‘Details!’“
So he convinced us after this one show” to become a 1950s doo wop revival group, “so we spent one month furiously learning songs and choreography. Everyone showed up in (‘50s doo wop) costumes,” ranging from gold lamé suits to greaser attire.
After another pause, Cahn noted that in 1969, “The atmosphere at Columbia was real hostile. People on the left and the right were talking about as kindly to one another as people are now.
“The strange thing is these people who hated each other were walking around the halls, singing together” — but only to 1950s doo wop songs.“Then we did a show for 4,000-5,000 people. It was just riotous. We found a manager and agent. For our very, very first gig, we played at Dino’s Club in mid-town New York.”While waiting alone in Dino’s office, Cahn said, “I saw a contract (on the desk that he chose to read that specified no payment was to made to the group), so somebody was ripping us off on our very first gig.”
The group’s first agent-manager also wanted to change the name of the Columbia Kingsmen to The Put-Ons, so, according to the aforementioned essay, “George changed our name to Sha Na Na — just for the weekend, he promised... he’d think of something better next week. “We (then) hit so fast he became scared to (change the group’s name to something else). Within two months we were the hottest rock act in New York, held over week after week at Steve Paul’s Scene, where the stars themselves partied.
“One night Janis Joplin ran backstage to kiss us, reeking of Southern Comfort; another night Rob was being helped off the Scene’s floor after collapsing in the finale
“One night Janis Joplin ran backstage to kiss us, reeking of Southern Comfort; another night Rob was being helped off the Scene’s floor after collapsing in the finale of ‘Teen Angel,’ and Bruce Clarke, Ellie Cahn, and Henry Gross were blasting into ‘Wipe Out,’ when Rob looked up and saw Jimi Hendrix not 10 feet away, jumping up and down on a chair, clapping and waving his arms, looking like he was going to take off and fly. Later he told us we were ‘Right ON!’”
Regarding the late guitar great, Cahn said, “Jimi Hendrix was there literally every night. I was playing electric guitar… There was some woman standing up and ripping at her hair like we were the Beatles. It was Janis Joplin. Eric Clapton came” and was enthused. “Within two weeks, we had signed with the William Morris Agency. We gpt booked at the Filmore."
Cahn added, "Then this very scruffy guy came up and said, 'Hey man, I'm playing at Woodstock! Would you guys (Sha Na Na) lke to play" there, too? It was Jimi Hendrix — and that show he got us booked at was ... Woodstock!"
At that point, Kopp asked Cahn, “How many gigs do you think you (Sha Na Na) did before the Woodstock show?”
“Maybe four or five,” Cahn replied.
“Golly!” Kopp exclaimed, before asking, “What about Woodstock?”
“We (Sha Na Na) were supposed to go on right after Joe Cocker, but it started to rain, so other performers wanted to go on (and were allowed to perform, so they could leave immediately afterward) before us,” Cahn said of the Woodstock festival.
“Jimi Hendrix’s contract said he would close the show” and, Cahn said, given the delays and problems caused by the rain deluge before Hendrix’s scheduled performance, Hendrix could have just insisted to perform the first thing the next morning and been finished with the concert.
Instead, Cahn added, “He (Hendrix) was basically nice enough to let us go on first (on the last morning of Woodstock), right before him, We were hanging out with him (Hendrix) — and he kind of liked us” and the Sha Na Na’s doo wop music. “He thought we were cute little college kids.”
After another pause, Cahn said, “I knew my band (Sha Na Na) was going to tear it up (energize the Woodstock audience) — and there was (almost) nobody there (a reduced crowd because of the rain). We sounded terrible. It was a disaster. But we played.”
Kopp then interjected, “There’s the idea that ‘whoever writes history determines who is remembered.’”
To that end, Kopp suggesed that everyone should “read the list of famous bands which played (at the Woodstock festival) that weren’t remembered because they weren’t included in the (subsequent) movie (that featured the festival).
“So you guys (Sha Na Na) were fortunate, in that sense — that you were included in the soundtrack... and in the movie.”
Responding, Cahn said, “We (Sha Na Na) got (paid) $300 for playing Woodstock. Half gets paid to the agent. The other half gets paid later (to the group) — and the ($150) check (to pay the 12 group members) bounced” when he tried to cash it.
Wryly, he added that, now, “I wish I had kept that check instead” as a momento, given that it was such a paltry amount for a performance by a large group at the most renowned of all music festivals, rather than losing track of the check after it bounced for insufficient funds in the banking system.
Further, Cahn said, “They were going to cut us from the (‘Woodstock Festival’) film, but we went over very well with the focus group, so that’s how we got included in the film.” (The group was featured in its performance of Danny & the Junior’s 1957 doo wop classic, “At the Hop.”)
The Sha Na Na co-founder then noted that “the first big gig we did (after Woodstock) was at the Filmore East. I opened my mouth (as the lead singer on the first song) and nothing came out,” so he shook the microphone up and down, as if it was its fault, before his voice returned, creating much attention and interest from the crowd over his seemingly crazed antics.
“We (also) did have a record deal, we just hadn’t started recording yet,” he said.
Kopp said, “Bands have different experiences with overnight success. You (Sha Na Na) guys had it close to ‘overnight?’” He then asked Cahn if he could address that quandary.
“There were 12 of us — one is now an Old Testmanent scholar — and all were still in college, except for me,” Cahn replied. “So basically, we could only play on long weekends and vacations, so we didn’t get carried away like some bands do,” with overnight success.
“Henry Gross was our first guitar player… and he quit after a year to pursue a solo career... He had a hit about (the late) Carl Wilson’s dog — and it sounded just like a Beach Boys’ song. (Wilson was an original member of the Beach Boys.)
Someone in the audience then asked, “Why did you quit Sha Na Na?”
“Without being melodramatic, I looked at how my life would be — and that it would be bad for my soul... perpetually crazy,” Cahn answered. “I would get bored really fast. I just thought this is not good.”
However, Cahn noted that prior to leaving the group, he was involved with Sha Na Na’s first four albums.
Kopp asked, “Did subsequent producers run the show?”
In reply, Cahn said, “We (Sha Na Na) weren’t really very good (musically). We had a terrific live act — and people just loved us. But when we got into the studios, we weren’t particularly good — and we were singing covers, so that’s not good” that Sha Na Na did not sound as good as the originals.
Further, Cahn asserted, “None of our (Sha Na Na) albums did particularly well. The fourth one was a ‘gold album,’” but despite achieving the “gold” distinction, he said the group just did not excel musically.
At that point, Kopp showed the program attendees a Sha Na Na album cover, autographed for him by Cahn.
Cahn then triggered laughter from the audience — and Kopp, the emcee — when he quipped, “I told him (Kopp) the last autograph I did... was for the IRS.”
Cahn then recounted that, during his time with Sha Na Na, the group performed at concerts that included famous acts on the bill, including then-ex-Beatle John Lennon (and Yoko Ono), Stevie Wonder and the then-up-and-coming singer-guitarist Bruce Springsteen.
And the emcee at one concert was Geraldo Rivera, whose show business career was just getting started and who Sha Na Na befriended.
To a questions from the audience, Cahn said, “We never met John (Lenon). He barricaded himself within his dressing room.
“We met Stevie Wonder — and he hung out with us. He was playing piano and we were singing with him.
“We met Keith Moon, the drummer of The Who, who is my favorite drummer of all time, at a concert at which we were playing at. And he invited me and some others to a party at his house. My nickname was (still) ‘Gino’ at the time....”
Kopp asked, “Outside of the United States, where did you tour?”
“When I was in the group, we did three (overseas) tours,” Cahn answered. “We did well in England and Germany, but when we were in Paris, (France) we had a disastrous concert. We were at a big dilapidated sports stadium. It probably seated 10,000 people — and maybe 200 people showed up. Among those people were a gang of French hoodlums — and maybe they thought we’d sound like Eddie Cochran (‘Summertime Blues’), so they took over the stage... and we ended the concert” in complete disarray.
Kopp queried, “The Grateful Dead?”
“Jerry (Garcia, the Dead’s principal songwriter, lead guitarist, and a vocalist) liked us quite a bit. He smiled broadly (when Sha Na Na performed) — he probably was stoned.”
“Sly Stone?” Kapp asked, referring to the frontman for the soul group Sly & the Family Stone.
“Three hours late,” Cahn said succinctly in response. “He (Stone) did show up, but he was always late
“Alice Cooper?” Kopp asked.
“We did a lot of shows with him — and he loved us and we loved him,” Cahn answered. “We got along very well with him.”
“Yes,” Kopp said, “you both had the ‘theatrical’ thing,” an assessment that drew no disagreement from Cahn.
Kopp asked, “The film ‘Festival Express’ — were you in it?”
“Yes, we were in it,” Cahn said of Sha Na Na., noting that the band also was booked to play at the Filmore West, in a situation wherein if it canceled an appearance, it would never be invited back, “so we only played the last stop of the festival, in Calgary, where I think the film was made.” (“Festival Express” was about a 1970 train tour (of the same name) that rolled across Canada, featuring some of North America’s top rock bands.)
“The film got shot… and then they ran into financial problems. And so it was sitting in someone’s cellar for 30 years,” instead of being released in theaters. However, the tapes eventually were rediscovered and the film was released, Cahn said.
“Bruce Springsteen?” Kopp asked.
“He opened a bunch of shows for us,” Cahn said. “He was just getting going” when the members of Sha Na Na met him. “His first album had been out for a few months and wasn’t doing that well. We played a lot of colleges — and he wanted to break into the college market.”
Speaking further about Springsteen, Cahn said, “He had just learned ‘Rosalita,’ which was an amazing song and performance. We hung out together” — and Sha Na Na members were fond of the young Springsteen — and vice versa.
Kopp then asked, “Did you have a sense when you crossed paths with Springsteen that this guy would be thought of in the same way as Van Morrison” — and other musical greats?
“I thought he was really good, but I’m not sure I thought of him that way” at that point in Springsteen’s career, Cahn replied.
“Steely Dan?” Kopp asked.
“They also opened several shows for us,” Cahn answered. “There were several different characters” in Steely Dan. “Some were ‘stand-offish,’ while others were really friendly.”
Kopp asserted, “A number of music scholars credit Sha Na Na as sort of lighting the fuse to the musical revival that opened the doors to (the Broadway musical and film hit) ‘Grease.’”
In response, Cahn said, “If you listen to this guy (a Sha Na Na founder and member) George Leonard, who was the creative spark... In 1969, (he said) America was yearning for a quieter, more placid, duller world,” following the nearly nonstop protests and social unrest that were upsetting citizens across the nation.
“What George was talking about was ‘the greaser’ — rather than ‘the beatnik’ — being created (and highlighted). What we (Sha Na Na) tried to do is hand people the 1950s the way they wanted it, rather than the way it really was.”
A program attendee then asked if Sha Na Na ever wrote and performed original songs?
“We did a side on our second album that was all originals,” Cahn answered. “It was good, but not great.”
Another program attendee asked if any original members remain in Sha Na Na.
The only remaining originals in Sha Na Na, according to Cahn, are Jocko Marcellino, the drummer and vocalist; and Donny York,” a vocalist. Since the group’s founding, “they’ve gone through hundreds of people” as performers.
Cahn added, “We (Sha Na Na) did a reunion concert at Columbia (University) around five or six years ago. The most fun was when we were around the piano, where we learned we still could sing together. But I felt like an ‘old fart’ on stage.”
Kopp asked Cahn to specify what musical instruments and equipment he played and used through the years.
Cahn says he owned a Fender Stratocaster electric guitar and a Fender Showman amp — and a Les Paul Jr. electric guitar.”
Regarding Sha Na Na’s legacy and its marketability now, Cahn noted that “I ran into someone wanted to make a ‘jukebox musical’ about Sha Na Na, but the script was terrible and it never went anywhere.”
Following up, Kopp said, “There was a Sha Na Na TV series in the 1960s,” after Cahn had left the group.
“I thought it (the TV series) was awful,” Cahn asserted.
Agreeing, Kopp quipped (in an apparent reference to the group’s “greaser” aspect), “It was like ‘Hee Haw’ — with Brilcreem.”
Members of the audience laughed at Cahn’s and Kopp’s jabs at the Sha Na Na TV show, but one unidentified man in the crowd said that when he was just a young boy growing up, he watched the show each week “and loved it” then and still remembers it with great fondness today, so he said it was hurtful to hear Cahn’s and Kopp’s trashing of the show.
At that point, both Cahn and Kopp expressed their apprecation to the audience member for sharing his thoughts on the TV show — and said they did not intend to cause offense.
Then Kopp played the second song of the night — Sha Na Na’s cover of the 1961 doo wop classic “Rama Lama Ding Dong” by The Edsels.Despite Cahn’s expressed love and appreciation of doo wop music, he also made numerous critical remarks about the music and the groups, including a verbal shot at the group The Edsels for naming itself after a famously failed model of automobile.
Speaking of himself, Kopp asked, “So having played music — not that (doo wop) kind of music — the songs were short… so how long was the setlist” for Sha Na Na shows (concerts)?
“It was very long,” Cahn replied with a smile.
An audience member then asked, “Is it easy to find videos of live performances when you (Cahn) were in the group?”
“It’s not that easy,” Cahn answered. “It was right before the video era.”
With a grimace, Cahn then reiterated a comment from earlier in the program that “we (Sha Na Na, a 12-member group) got cheated out of $50 for our first gig."
The question of how the group got its name was asked again.“We were the Columbia Kingsmen,” Cahn replied, noting there already was a famous West Coast group called the Kingsmen that had recorded “Louie, Louie,” a classic rock party song.
“The first (doo wop) song we did was the Silhouettes’ ‘Get a Job,’” so the ‘sha na na’ line from that song was adopted as the new name for the group as it transitioned into 1950s’ music.
Later in the program, Cahn said, “My mom taught me how to sing… I loved harmonies” from the beginning, “so doo-wop music was perfect for me... I was the musical director of the group (Sha Na Na).”
During the program, a Daily Planet reporter asked why the tempos of most — if not all — doo wop covers by Sha Na Na were speeded up so much. Why were the gorgeous harmonies being sacrificed for the sake of speed?
"The tempos were timed to match the choreography,” Cahn replied, noting that to rev up an audience with doo wop music, especially in 1969, the group felt it had to greatly accelerate the tempos of its songs. Kopp added,
“Hardly any of those songs hit the three-minute mark.”
Agreeing, Cahn added, “We definitely sacrificed the music for the choreography. It (the Sha Na Na approach to doo wop music) was very aggressive” — and it had to be, for those times.
Kopp asked Cahn, “Do you still have a gold lamé suit?”
“I never wore one,” Cahn answered with a smile. “I really became ‘Gino’ (his Sha Na Na nickname) for a long time.
“When we played our first show, I put half a tube of K-Y (Jelly personal lubricant) in my hair and combed it back. The first time I greased my hair back, I said, “Oh god,’ I look like….”
“So what did you do once you left the band?” Kopp asked.
“I played with Henry Gross for a year and half. Then I ended up singing on some albums. As soon as I went on the road, I knew he was booked, and it was fun singing with him....
”Later, “I was drunk on a plane and reading ‘War and Peace’ — and I just thought, if Leo Tolstoy could do it (be a writer), so could I. I wanted to be writer... So I spent about a year in Los Angeles as a free-lance journalist... Then I went to law school — then graduate school. And then I worked at a think tank for several years — and was tricked by somebody to be a lawyer.”
He later became an attorney for various speed metal bands, lost his hearing and transitioned to punk pop bands, eventually managing the band Green Day.
A woman in the audience asked, “Do you still sing and, if so, what is your favorite song?”
“I still sing,” Cahn replied. “I still play the guitar.— an acoustic. Recently, I liked a song by a group called Little Big Town, a band out of Nashville, that sounds sort of like Crosby, Stills and Nash...”
Someone asked the former Sha Na Na member if he could be in another band, “playing exactly what you’d like,” what would have been his choice?
“I would have been in a band like the Byrds, something like that — or Crosby, Stills... and Cahn — that would have been nice!” Cahn said with a smile.
Kopp then noted “(Frank) Zappa was a huge doo-wop fan....”
To that, Cahn strongly agreed that Zappa loved doo wop music and “one of the guys in my band (Sha Na Na) said Frank wore a gold lamé suit.”
On a coy note, Kopp asked, “There’s a possiblity you’ll be teaching a class at UNCA?”
“Yes,” Cahn replied, “and there’s a possibility you (Kopp) will be teaching that class with me.”
Kopp then said, “Elliot and I have put together a proposal for a curriculum of the ‘History of Rock ’n’ Roll from the 1950s and ‘60s’” to teach at UNCA’s College for Seniors. “We’ve submitted our proposal, but we haven’t heard yet."
Cahn addded, "They really ought to say ‘Yes.' If that one (college class proposal) goes, you’ll ‘have’ me.”
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Sha Na Na star 'Bowzer' stumps for Michigan Senate candidate Gary Peters
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2014-09-18T01:15:33+00:00
|
Jon Bauman, known for his role as Bowzer on the "Sha Na Na" was scheduled to visit Flint and Lansing Wednesday, Sept. 17, to talk to seniors about the race.
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/pf/resources/images/mlive/favicon.ico?d=1375
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https://www.mlive.com/news/flint/2014/09/sha_na_na_star_bowzer_stumps_f.html
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BK BOWZER
Bowzer, formerly of the group Sha Na Na, trying to break a glass with his low voice, which he finally did, in Jackson in this 1995 photo.
(File)
FLINT, MI -- A Michigan candidate for the United States Senate is looking for a boost among senior voters from an unlikely place.
Specifically, a 33-year-old music act and its television show.
Jon Bauman, known for his role as Bowzer in "Sha Na Na" was scheduled to visit Flint and Lansing Wednesday, Sept. 17, to talk to seniors about the race.
There was a time when the show was on the air that it's largest market share came from the Flint area.
"I love the music of the '50s and the early '60s, but that does not mean I want to return to a time before Medicare when 35 percent of seniors lived below the poverty line," Bauman said in a statement.
"And I certainly don't want to return to a time before Social Security when more than 50 percent of seniors lived below the poverty line. The choice is clear: Gary Peters has a strong record supporting Michigan seniors but Terri Lynn Land would take us back to a time when a secure retirement wasn't an option for millions of seniors."
"Sha Na Na," was a show hosted by the band of the same name and was on the air from 1977 to 1981. The show featured the group singing 50s and 60s rock and roll songs and performing comedy skits.
Bauman sang bass in the group and wore his trademark outfit on every episode: black converse sneakers, jeans and a black muscle shirt with slicked-back hair. The group ended each show with the Bowzer character saying ""Good night, and grease for peace," and then the group sang "Goodnight, Sweetheart, Goodnight."
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Sha Na Na
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Overview of all albums from Sha Na Na.
|
en
|
/favicon-20150331.ico
|
https://www.muziekweb.nl/en/Link/M00000072596/POPULAR/Sha-Na-Na
|
(source: wikipedia)
Sha Na Na was an American rock and roll and doo-wop revival group formed in 1969. The group performed a song-and-dance repertoire based on 1950s hit songs that both revived and parodied the music and the New York City street culture of the 1950s. After gaining initial fame for their performance at the Woodstock Music and Art Fair, made possible with help from their friend Jimi Hendrix, the group hosted Sha Na Na, a syndicated variety series... more
|
|||||
8788
|
dbpedia
|
3
| 14
|
https://www.imdb.com/title/tt0075581/
|
en
|
Sha Na Na (TV Series 1977–1981)
|
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[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
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[] |
1977-01-11T00:00:00
|
Sha Na Na: Created by Bernard Rothman, Jack Wohl. With Sha-Na-Na, Susan Lanier, Pamela Myers, Jane Dulo. A comedy variety show featuring the retro rock and roll group.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0075581/
|
How odd it is that some people still think that Sha Na Na emerged and made their mark on the movie GREASE which later led to this short lived variety show.
Before GREASE (1978), HAPPY DAYS (1974) and American Graffiti (1973), there was Sha Na Na, who formed in 1968 and played in Woodstock in 1969. They also had a slew of singles and 3 albums to their credit before their label (Kama Sutra) released THE GOLDEN AGE OF ROCK 'N' ROLL on a 2-album set in 1973.
Flash Cadillac & the Continental Kids may had appeared on American Graffiti and in 1975 as Fish & the Fins on HAPPY DAYS. But they got there by pretty much copying the style of Sha Na Na! While I was not too wild about variety shows nor was I too wild about acts that would lipsinque, Sha Na Na were the exception to the rule. Their blend of comedy and music made their variety show a hit with their fan base, which also included us critics out there on the fringe, drawn to their brand of entertainment, like a moth to a light. Even my mother, whose teenage years were spent during the "big band era" (and not a fan of rock & roll) enjoyed this show.
One classic performance was a version of "A Lover's Question" (by Clyde McPhatter-1958/Atlantic Records). The setting looked like something out of THE WEST SIDE STORY. And each of the members was sitting on a window sill or on a fire escape! Classic rock 'n' roll as we like to remember it! Grease for peace!!!
|
|||||
8788
|
dbpedia
|
0
| 61
|
https://uk.rarevinyl.com/products/sha-na-na-the-night-is-still-young-us-vinyl-lp-album-record-ksbs2050-661947
|
en
|
Sha Na Na The Night Is Still Young US Vinyl LP
|
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SHA NA NA The Night Is Still Young (1972 US 12-track vinyl LP album, back-pasted picture sleeve with deletion notch. The sleeve has a few minor signs of age with some storage marks but the vinyl is in excellent condition with little sign of play KSBS2050) Tracklisting & Info: 1. Sunday Morning Radio 2. Sea Cruise 3. You Can Bet They Do 4. Bounce In Your Buggy 5. It Ain't Love 6. Sleepin' On A Song 7. Bless My Soul 8. So Fine 9. Oh! Lonesome Boy 10. It's What You Do With What You Got 11. Glasses 12. In the Still of the Night Year of Release - 1972 Format - vinyl LP album (LP record) Record Label - Kama Sutra Catalogue No - KSBS2050 Country of Origin - USA Availability - In Stock
|
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RareVinyl.com
|
https://uk.rarevinyl.com/products/sha-na-na-the-night-is-still-young-us-vinyl-lp-album-record-ksbs2050-661947
|
Low Stock- Buy It Now
£13.00
| /
✅ RareVinyl.com's 100% Guarantee
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SHA NA NA The Night Is Still Young (1972 US 12-track vinyl LP album, back-pasted picture sleeve with deletion notch. The sleeve has a few minor signs of age with some storage marks but the vinyl is in excellent condition with little sign of play KSBS2050)
TRACKLISTING AND EXTRA INFORMATION
1. Sunday Morning Radio
2. Sea Cruise
3. You Can Bet They Do
4. Bounce In Your Buggy
5. It Ain't Love
6. Sleepin' On A Song
7. Bless My Soul
8. So Fine
9. Oh! Lonesome Boy
10. It's What You Do With What You Got
11. Glasses
12. In the Still of the Night
Artist - Sha Na Na (click link for complete listing)
Title - The Night Is Still Young (click link for more of the same title)
Year of Release - 1972
Format - vinyl LP album (LP record)
Record Label - Kama Sutra
Catalogue No - KSBS2050 (click link for more)
Country of Origin - United States (USA)
Language - Regardless of country of origin all tracks are sung in English, unless otherwise stated in our description.
Additional info - Deleted, Picture Sleeve
Global Trade Item Number (GTIN) - 5053200150544
Condition - This item is in Excellent condition or better (unless it says otherwise in the above description). We buy items as close to Mint condition as possible and many will be unplayed and as close to new as you could hope to find. Irrespective of the source, all of our collectables meet our strict grading and are 100% guaranteed. Click here for more info.
RareVinyl.com Ref No - 5NNLPTH661947
Related Artists - Henry Gross.
GENRES
50's Artists / Rock & Roll, 60s Rock, POP, Rockabilly, Rock, Soul and r&b.
ORDERING
Availability - In Stock - Buy Now for shipping today
Postage/Shipping Cost - Add item to your basket for a postage/shipping quote. For further delivery info click here
Email - sales@rarevinyl.com to contact our sales team.
To order by phone - Call (+44) 0147485010
RareVinyl.com Reference Number - 5NNLPTH661947
SELL TO US
Got vinyl records, CDs or music memorabilia to sell? – Sell to us at our buying site https://vinyl-wanted.com
|
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8788
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dbpedia
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Sha Na Na – Sha Na Na Is Here to Stay album art
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2022-09-18T17:17:24+00:00
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Sha Na Na Is Here to Stay is a compilation album by revival/nostalgia musical group Sha Na Na, released by Buddah Records in 1977.
On the front cover, the band’s name and album title are variants of Seymour Chwast’s Push Pin Myopic, with the Open C variant used for “Sha Na
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Fonts in Use
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https://fontsinuse.com/uses/49142/sha-na-na-sha-na-na-is-here-to-stay-album-art
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Sha Na Na Is Here to Stay is a compilation album by revival/nostalgia musical group Sha Na Na, released by Buddah Records in 1977.
On the front cover, the band’s name and album title are variants of Seymour Chwast’s Push Pin Myopic, with the Open C variant used for “Sha Na Na” and the solid variant used for “Is Here to Stay”. Both are set in all caps with the album title styled as a faux-italic.
On the back cover, the track titles are set in various weights of Hermann Zapf’s Optima.
Formed in New York City in 1969, Sha Na Na gained notoriety after appearing as the counter-counterculture doo-wop group at the Woodstock Music Festival, performing before Jimi Hendrix, who, according to Wikipedia, recommended Sha Na Na for the gig.
Wikipedia also credits their appearance in the 1970 Woodstock documentary with inspiring the 1950s musical revival that was popular during the 1970s:
Subsequently, the inclusion of their performance of “At the Hop” in Michael Wadleigh’s award-winning documentary film of the [Woodstock] festival made Sha Na Na nationally famous and helped spark a 1950s nostalgia craze that inspired similar groups (Flash Cadillac, Showaddywaddy, Big Daddy), as well as the Broadway musical Grease (and its feature film adaptation), the feature film American Graffiti and the TV show Happy Days.
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https://shanana.com/
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The Official Sha Na Na Website!
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LET IT BE KNOWN:
Sha Na Na will no longer tour as a concert group.
TO OUR FANS:
Thank you for your support for over
five decades of Rock "N" Roll!
TO OUR MUSICIANS:
Thank you for all your talent and dedication.
TO ALL:
Goodnight, Sweetheart!
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https://lancewrites.wordpress.com/tag/sha-na-na-1971-album/
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lancewrites: Reviews By Lance Lumley
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2019-08-18T00:00:00
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Posts about Sha Na Na 1971 Album written by lancelumley
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en
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https://secure.gravatar.com/blavatar/43b7d4e68381acce0cf7372edc81bed9b3552ebd531d5cdcb0d05f94276210cf?s=32
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lancewrites: Reviews By Lance Lumley
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https://lancewrites.wordpress.com/tag/sha-na-na-1971-album/
|
Every once in a while, I will be reviewing a release from my childhood or musical past that made an influence on me. Some of these will be well known, and others may have been passed by under the radar. Most will not be in the hard rock/metal genre. You can see some of those in that genre written by me in the Retro Review section on the webpage Sleazeroxx.com. With the 50th Anniversary of Woodstock this year, I thought this would be the perfect time for this release.
Before MTV came along, music listeners had to watch their favorite music acts on television, via shows like Solid Gold, American Bandstand, and variety shows. Two of the biggest acts that had their own variety show when I was growing up were The Bay City Rollers and Sha Na Na.
Even today in 2019, some people do not give Sha Na Na the respect they deserve. The band was started at Columbia University, where some of the members were studying graduate work. The act was featured in movies like Grease, American Graffiti and on Happy Days. The fact that they provided almost a whole side of the Grease soundtrack, which is one of the top selling movie records of all time, should say something right there (plus singer Scott Simon co wrote the song “Sandy” for the movie, which was a hit for John Travolta). They even played the original Woodstock Festival, right before Jimi Hendrix performed. Their variety television show lasted almost four years to many viewers, which provided music, comedy, and other guest stars. The band’s popularity was not only due to bass singer Jon “Bowzer” Bauman , but had quality musicians including Lennie Baker (who played with Danny and The Juniors) and Henry Gross (of the hit “Shannon”) was in the early lineup. The group’s greaser look, as a tribute to the 1950s -1960s music acts, gave a historical lesson to listeners like me who were too young to remember those days of music.
The act released several albums, mostly of cover songs from the early rock era, but one album that I listened to frequently from my childhood was 1971’s Sha Na Na record, known among followers as the “Gold Boots” record, due to the album cover.
The first side is a live concert from Columbia University, filled with the early rock staples like ” Yakety Yak,” Great Balls of Fire,” and “I Wonder Why.” These covers are great capturing the live energy of the band, including Bowzer’s bass parts on the up-tempo versions of Gene Chandler’s “Duke Of Earl” and “Blue Moon,” which ended up being a slower version on the Grease record.
One of my favorite songs off the first side is the cover of Ray Peterson’s “Tell Laura I Love Her,” which has a pop feel to it. I list this song as one of the few songs that is better than the original. Peterson’s version has a folk sound to it, where I like the more rock style that the act brings, with Johnny Contrado on lead vocals and the drumming by Jocko Marcellino. I used to love playing this version on my drums when I was younger, and wanted to play it in the bands that I was involved in, only to be vetoed each time.
The last song on the release, “Rock And Roll Is Here To Stay,” a tribute to Danny and The Juniors, is a memory for me only because there is a F- bomb thrown in there before the song. Before parental warning stickers, I wonder to this day how it got kept on the release, and how I listened to it for years and my parents never noticed it.
The second side is where I think the band impresses me the most, with studio songs, almost all written by Scott Simon. “Only One Song” has a ballad that has The Beatles-like harmonies and studio production on it that if I played it to a stranger , they may not know it was Sha Na Na. The song is wonderful and one of my favorites to this day from my childhood.
“Depression” has is a guitar driven song that I remember for being the theme song to my toy wrestlers. I was a big wrestling fan growing up, and would play with my wrestling figures (even using my G.I. Joes when I didn’t have enough figures). I would make up my own characters and created my own Supercards, where my figure who I chose to be me, would be on the same cards as wrestlers like Hulk Hogan, Nick Bockwinkel, and others, regardless of the league they were in. Being a fan of the tag team The Rock N Roll Express, I would use “Depression” as my theme song. The rhythm and guitar work was perfect for my imagination.
“Canadian Money” is a song I always play when I get this record out, even sometimes just to hear it. A slow acoustic feel to it, talks about sites in Canada. I recently researched information for the song, and it has been mentioned that it was a protest song for the Vietnam War, with it’s line “No great Army doing it’s duty/Making waves across the sea.” If it is true or not, I love the song, and it should have been a release from the album.
One song that did chart from the band is “Top 40,” which has a old Southern Gospel feel to it, with some humorous lyrics. The song hit #84 on the Billboard charts. The song tells the story of someone who asks if they are going to be a hit in heaven because they were one on earth. The lyrics “Are you on the Top 40 of your Lordy?” has the tongue in cheek lyrics gives the song an unique take on heaven and how to live life on earth.
“Ruin Me Blue” reminds me of something that would have been on one of my favorite all time TV shows, W.K.R.P. in Cincinnati. It has strong piano and guitar work that drives the song, although the lyrics are pretty simple.
The final track , written by drummer Jocko, “Just A Friend” has a Rolling Stones-feel to the song. I think it is the weakest of the studio tracks, but the band still gets credit for writing some original work.
Sha Na Na may have started out as a novelty act, but listening to this record shows that the members had talent. The act has always been a guilty pleasure of mine, even finding some of the TV shows on Youtube to watch to this day. They were not a bunch of street gang people that they portrayed on television; these guys had talent and also had graduate degrees- they consisted of lawyers, writers, and great musicians who worked with some of the acts they covered. Bowzer has been an advocate for decades for preserving the names of the originals acts of the 1950s and 1960s, to where the groups have to let the public know how many original members are still in the groups.
The cover of this record , along with the music, takes me back to a great time of my early music childhood, being one of the first records I can remember getting as a child.
Track Listings:
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https://concertsondvd.com/products/sah-na-na-woodstock-20-years-after-dvd-2022-release-date-8-5-2022
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SHA NA NA: Woodstock 20 Years After 1989 (DVD) 2022 Release Date: 8/5/
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Twenty years after Woodstock, Sha Na Na once again appeared on stage at "Woodstock: Twenty Years After" along with other veterans of the original festival. If the original 1969 Woodstock Festival was a defining moment in rock history, it was also a defining moment in the history of Sha Na Na. The group's appearance -
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ConcertsOnDVD.com
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https://concertsondvd.com/products/sah-na-na-woodstock-20-years-after-dvd-2022-release-date-8-5-2022
|
Twenty years after Woodstock, Sha Na Na once again appeared on stage at "Woodstock: Twenty Years After" along with other veterans of the original festival.
If the original 1969 Woodstock Festival was a defining moment in rock history, it was also a defining moment in the history of Sha Na Na. The group's appearance - only the eighth in Sha Na Na's career, followed by the Woodstock album and movie, cemented their reputation and style. "We did 40 minutes and were paid $350...and the check bounced!" Sha Na Na was the only group at Woodstock without a record deal. Immediately afterwards, they had one and today the group has released eighteen albums in total, with worldwide sales of more than 20 million. Twenty years after that Woodstock performance, Sha Na Na once appeared on a stage at "Woodstock" Twenty Years After" along with other veterans of the original Woodstock festival including Melanie, Canned Heat, Country Joe MacDonald, Blood, Sweat and Tears. The energy that got them a standing ovation for their rendition of "At the Hop" (and they were the second to last act before Jimi Hendrix took the stage) This event took place 3,000 miles away at Cal State Dominguez Hills and also included performances by other luminaries from the Woodstock era including Mark Farner (Grand Funk Railroad), It's A Beautiful Day, Chambers Bros., Iron Butterfly and other rock luminaries
Track Listing:
Rock Around the Clock
Tossin' and Turnin'
The Stroll
Whole Lotta Shakin' Goin' On
MEDLEY:High School Confidential/ At the Hop
Let's Dance
Queen of the Hop
Save the Last Dance for Me
Chantilly Lace
You've Lost That Lovin' Feelin'
You Can't Sit Down
Blueberry Hill
Tequila
Hit the Road Jack
Tonite, Tonite
In the Still of the Night
Get a Job
Oh Lonesome Me
Promised Land
band intro
Rock and Roll Is Here to Stay
Goodnight My Love
Goodnite, Sweetheart, Goodnite
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Sha Na Na facts for kids
|
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Learn Sha Na Na facts for kids
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/images/wk/favicon-16x16.png
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https://kids.kiddle.co/Sha_Na_Na
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Sha Na Na is an American rock and roll doo-wop group. Performing a song-and-dance repertoire based on 1950s hit songs, Sha Na Na has been simultaneously reviving and parodying the music of 1950s New York street culture since the group's formation in 1969. After gaining initial fame for their performance at Woodstock, made possible with the help of their friend Jimi Hendrix, the group hosted Sha Na Na, a syndicated variety series that ran from 1977 to 1981.
Billing themselves as "from the streets of New York", members were frequently outfitted in gold lamé or leather jackets, and sporting pompadour or ducktail hairdos. The group's name is taken from a series of nonsense syllables ("Sha Na Na Na Sha Na Na Na Na") in the song "Get a Job", originally recorded by the Silhouettes.
The current lineup features original members Donny York and Jocko Marcellino, as well as longtime member Screamin' Scott Simon, who joined in 1970. Everyone else from the original band and TV show has since departed. Current band members include bassist Tim Butler, guitarist Randy Hill, drummer Ty Cox, and sax player Michael Brown.
TV series
Sha Na Na hosted the Sha Na Na syndicated variety series that ran from 1977 to 1981. It was among the most watched programs in syndication during its run. The show was produced by Pierre Cossette and originally distributed by LBS Communications.
The show featured the group performing hits from the 1950s and 1960s, along with comedy skits. The "tough guys" road act from their original road shows was adapted for TV and the group moved to a comedy and self-deprecating routine. The mainstay continued to be the 1950s song and dance routines. The show opened in a typical concert scene, and then moved through various street and ice cream parlor scenes where they and their guests performed several songs. That was followed by a comedy-oriented song ("Alley Oop", "Hello Muddah, Hello Faddah") and closed with a slow song, again in their concert format.
Among the supporting members featured in the series were Avery Schreiber, Kenneth Mars and Philip Roth (all of them in the first season); both Pamela Myers and actress Jane Dulo (the crabby Lady in the Window, who watched over the street scenes from her apartment with undisguised disdain) throughout the show's run, June Gable and Soupy Sales (seasons 2 to 4); Michael Sklar (season 2); and Karen Hartman (season 4).
Guests included Jan & Dean, Fabian, Chubby Checker, the Ramones, Ethel Merman, Frank Gorshin, Billy Crystal, Danny and the Juniors, Rita Moreno and others.
The members of Sha Na Na during the TV series were Jon "Bowzer" Bauman (vocals), Lennie Baker (sax/vocals), Johnny Contardo (vocals), Frederick "Dennis" Greene (vocals), Danny "Dirty Dan" McBride (guitar/vocals) (left after third season), Jocko Marcellino (drums/vocals), Dave "Chico" Ryan (bass/vocals), 'Screamin' Scott Simon (piano/vocals), Scott "Santini" Powell (vocals), Donald "Donny" York (vocals). Every member was featured with a solo vocal spot during the course of the series. Each was introduced only by his nickname or his first name in a voice-over by Myers at the beginning of each show.
Film
The group appear as themselves in the documentaries Woodstock (1970) and Festival Express (2003).
Sha Na Na also appeared in the 1978 film Grease (an adaptation of the 1971 Broadway musical of the same name) as a 1950s band called Johnny Casino and the Gamblers. Their tracks on the film and Grease soundtrack include two songs from the original 1971 musical: "Those Magic Changes" and "Born to Hand Jive"; as well as four songs from the early rock and roll era: versions of Elvis Presley's covers of "Hound Dog" (1956) and "Blue Moon" (1956), a cover of the Imperials' "Tears on My Pillow" (1958), and a cover of Danny & the Juniors' "Rock & Roll Is Here to Stay" (1958). The song "Sandy" sung by John Travolta in the film, was co-written specifically for the film by Sha Na Na's Screamin' Scott Simon.
Members
In alphabetical order
Member information
Vinnie Taylor (1949–1974) (born Chris Donald), who replaced Larry Packer as the lead guitarist in 1970, died in 1974.
Bass player Dave "Chico" Ryan died in 1998. While remaining in Sha Na Na, he joined Bill Haley & His Comets for the group's fall 1979 tour of Europe (Haley's last major tour before his death).
Guitarist Danny "Dirty Dan" McBride (born Daniel Hatton, 1945) died of cardiovascular disease in 2009.
Bass guitarist Reggie Battise was a dancer in the feature film Staying Alive (1983) and White Men Can't Jump (1992) as well as the TV series Moonlighting. He succumbed to prostate cancer on October 8, 2010.
Founding member Robert Leonard is a professor of linguistics at Hofstra University. He had an appearance as a qualified expert in linguistics for the murder case of Charlene Hummert in the episode "A Tight Leash" of the TV medical detectives series Forensic Files in 2004, as well as for the Tennessee "Facebook Murders" on the Investigation Discovery crime show Too Pretty to Live in 2016.
The group's first guitarist, Henry Gross, became a solo performer. He scored a #6 Billboard hit single, "Shannon", in 1976.
Alan Cooper, the lead singer in the group's performance of "At the Hop" in the Woodstock film, went on to pursue an academic career. He taught religious studies at McMaster University in Hamilton, Ontario, for ten years, then became a professor of Bible studies at Hebrew Union College-Jewish Institute of Religion in Cincinnati, and now serves as the Elaine Ravich Professor of Jewish Studies and provost at the Jewish Theological Seminary of America.
Jon "Bowzer" Bauman replaced Alan Cooper and became a recognizable member of the group as he taunted audiences while he flexed his muscles, burped and spat in the direction of the bass player. In the 1980s he had a brief career as a game show master of ceremonies. He continues to tour.
Elliot Cahn, the group's original rhythm guitar player and musical arranger, later became the first manager of Green Day.
Joe Witkin, who was replaced by "Screamin'" Scott Simon, was the original keyboard player and singer of "Teenager in Love" on their first album. Witkin left the band in 1970 to finish medical school, and subsequently moved to San Diego, California, in 1975 to do his internship and residency at the University of California in San Diego. He worked at Scripps Hospital East County from 1978 to 2000 as an ER physician, and held the same position at Sharp Grossmont Hospital in La Mesa until retiring in 2013. Witkin lives with his family in San Diego, California. He played with a 1950s/1960s show band The Corvettes in San Diego for 23 years.
Scott Powell is a specialist in orthopedic surgery and sports medicine. He performed on the TV show under the stage name "Santini" (another alias was "Captain Outrageous"). Powell left the band in 1980 and returned to Columbia to take pre-medical courses. He is a member of the medical staff of US national soccer teams, and is the team physician for the Federation Women's National Team and an associate clinical professor at University of Southern California. While Powell was with Sha Na Na, he sang the bulk of the Elvis Presley revival songs.
Frederick "Denny" Greene left the group to pursue studies in law. After graduating from Yale Law School, he became the vice president of production and features at Columbia Pictures. He was a professor at the University of Dayton. Greene was known for his skilled dancing and sang the lead in "Tears on My Pillow", "Duke of Earl", and others. He died on September 5, 2015 after a brief illness.
Bruce "Bruno" Clarke became a professor of English at Texas Tech University in Lubbock, Texas.
Richard Joffe became a class action litigator for a law firm in New York City.
Dave Garrett ran the Long Island-based musical instrument amplifier company Earth Sound Research during the 1970s. A businessman, he resides in New York City.
See also
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Lennie Baker, Voice of Sha Na Na’s ‘Blue Moon,’ Dies at 69
|
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2016-02-26T20:32:53+00:00
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A longtime member of Sha Na Na who sang lead on the rock and doo-wop group's hit "Blue Moon" has died. Lennie Baker was 69.
|
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Billboard
|
https://www.billboard.com/music/music-news/lennie-baker-sha-na-na-blue-moon-dead-6890451/
|
A longtime member of Sha Na Na who sang lead on the rock and doo-wop group’s hit “Blue Moon” has died. Lennie Baker was 69.
Baker’s nephew, David Baker, confirmed the musician’s death Wednesday at South Shore Hospital in Weymouth, Mass., where he had been briefly hospitalized after developing an infection.
Gone But Not Forgotten: Music Stars In Memoriam 2016
Lennie Baker spent 30 years touring with Sha Na Na as a vocalist and saxophone player. He sang lead on “Blue Moon,” which he performed at Carnegie Hall and around the world, and often said it was his favorite tune.
Baker left the group in 2000 and was living on Martha’s Vineyard at the time of his death.
Funeral arrangements were incomplete Friday.
Trending on Billboard
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https://www.primevideo.com/detail/Sha-Na-Na---Woodstock-20-Years-After/0HXJ2UNIVVZZQR6NW7SQ3PUHG9
|
en
|
Woodstock: 20 Years After
|
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Sha Na Na, the popular 1950s revival group which has sold over 20 million records and starred in its own syndicated television series, was one of the performers at the 1969 Woodstock Music Festival. Twenty years later, Sha Na Na joined original fellow musicians for the
|
en
|
https://www.primevideo.com/detail/Sha-Na-Na---Woodstock-20-Years-After/0HXJ2UNIVVZZQR6NW7SQ3PUHG9
|
Sha Na Na - Woodstock: 20 Years After
Sha Na Na, the popular 1950s revival group which has sold over 20 million records and starred in its own syndicated television series, was one of the performers at the 1969 Woodstock Music Festival. Twenty years later, Sha Na Na joined original fellow musicians for the "Woodstock: 20 Years After" concert held 3,000 miles away at Cal-State Dominguez Hills in Carson, California on August 20,1989.
|
||||||
8788
|
dbpedia
|
2
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|
https://www.wienerworld.com/product/sha-na-na-woodstock-20-years-after-dvd/
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en
|
Sha Na Na â Woodstock: 20 Years After (DVD) – Wienerworld
|
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https://www.wienerworld.com/product/sha-na-na-woodstock-20-years-after-dvd/
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Sha Na Na â Woodstock: 20 Years After (DVD)
23 songs from the 1950s revival group Sha Na Na, recorded at the Woodstock: 20 Years After concert in August 1989
Sha Na Na, the popular 1950s revival group that has sold over 20 million records and starred in its own syndicated television series, was one of the performers at the original 1969 Woodstock Music Festival. Twenty years later, the band joined original fellow musicians for the Woodstock: 20 Years After concert held 3,000 miles away at Cal-State Dominguez Hills in Carson, California on August 20, 1989. Sha Na Na’s appearance at Woodstock was only the band’s eighth performance. Formed during the 1968-69 school year at Columbia University, the idea for the band was conceived by George Leonard, a humanities graduate student, who also became the group’s choreographer. The original line-up featured a dozen members and performed a song-and-dance repertoire based on popular 50s rock and doo-wop hits.
“Within two months we were the hottest rock act in New York, held over weekly at Steve Paul’s Scene, where the stars themselves partied. One night Janis Joplin ran backstage to kiss us, reeking of Southern Comfort,” recalled Leonard. According to the band’s drummer, John Fair “Jocko” Marcellino, it was on the final night that Steve Paul’s Scene was open that Jimi Hendrix personally introduced Sha Na Na to Woodstock’s producers, Michael Lang and Artie Kornfeld. “We were booked that night,” Marcellino told Yahoo Entertainment’s Lyndsey Parker. “We got $350, the check bounced, and we got a dollar to be in the movie. But that was a good dollar.”
Their high-energy presentation and set-closing rendition of ‘At The Hop’ was a highlight of the concert and appeared in the documentary film. The movie helped make Sha Na Na a U.S. sensation and triggered a 50s nostalgia craze that inspired the Broadway musical Grease, American Graffiti, and the 1970s television series Happy Days. When the film adaptation of Grease arrived in 1978, the accompanying soundtrack included six songs by Sha Na Na, and the group performed two songs in the film as Johnny Casino and the Gamblers.
|
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3360
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dbpedia
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2
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https://www.justwatch.com/us/tv-show/demob
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en
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watch tv show streaming online
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1993-10-15T00:00:00
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Is Netflix, Amazon, Hulu, etc. streaming Demob? Find out where to watch seasons online now!
|
en
|
/appassets/favicon.ico
|
JustWatch
|
https://www.justwatch.com/us/tv-show/demob
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Demob was a short-lived British comedy-drama television series, which screened for one six-episode series in 1993 on ITV. The series was set in the late 1940s and early 1950s, and starred Martin Clunes and Griff Rhys Jones as two ex-army friends who decide to try to form an entertainment act, with the aim of getting work on BBC radio. The series also starred Samantha Womack, Amanda Redman and Les Dawson.
|
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3360
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dbpedia
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3
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https://www.bbc.co.uk/history/ww2peopleswar/stories/44/a5695644.shtml
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en
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My War by James Murray 8
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"Bill McLaren",
"North Africa",
"assembly centre",
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"Field Regiment RA",
"Guard mounting drill",
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[] | null |
On completion of my LIAP leave, I left Hawick on the morning of 12th October 1945 to return to Italy... ...
| null |
AFTER L.I.A.P.
On completion of my LIAP leave, I left Hawick on the morning of 12th
October 1945 to return to Italy. I reached Rimini / Riccione on 19th October. The overland journey with numerous stops in transit areas had taken seven day.
So it was 'back to duty' and the army still clung to its old habit of making life as uncomfortable as possible. There were Guards to mount and perform. We were back to marching and rifle drill ' to pass the time.' M.T. inspections were 'popular' and I found myself on Orderly Sergeant duty frequently.
However, this was all to change quite dramatically.
On 1st November I was summoned from Guard duty and told to take charge of the local ENSA Theatre at Riccione. This would excuse me all duties within the Battery and it was a real break. I suppose I got the job because I was known as a bit of a pianist from various Battery concerts and in civvy street I had also done quite a bit in amateur operatics and drama.
On arrival at the Theatre, I found myself immediately involved with the Rossini Symphony Orchestra who were giving a concert that night. And that was only the start. In rapid succession we had Italian ENSA and of course films a full programme seven nights a week.
I really started to enjoy myself. We were on a circuit controlled from Rimini. I established contact with the Officer there, who came from Edinburgh, and between us we worked out the weekly programme of films and other entertainment. These were publicised on bills throughout the town; it was really great, I was back in a business I understood. Amongst the various jobs I found myself doing was to compere on stage for the Italian ENSA. Also the local Forces radio station was just up the road and this was very useful for putting out items of what was on at the theatre.
However, good things don't last for ever in Army circles and by late November the Regiment were under orders to proceed to Greece. I was not involved as my demob Group was 27 and it had been estimated that this would
come around by March 1946. What to do meantime ? I was offered a pre-release course through Army Education at the 2nd..AGRA school on Lake Garda.. I spent Christmas 1945 there.. By 31st December I was back with the Battery and I was immediately detailed to make the trip back to Garda with another party of students for the AGRA school.
It was on this trip that I collided, almost by accident, with the only other Hawick man I knew in the entire AGRA Group, Lieutenant Bill McLaren. It is not even correct to say I knew him for we had never met even on home ground. However, I knew he was around and that we had shared the War in Italy. Visiting officers from Bill McLaren's Regiment, 5th Medium had picked up copies of the Hawick local paper , The Hawick News, in 60th Battery Command Post and it was through them that I learned that there was an officer from Hawick serving with them.
We arrived back at Bressanone late at night. On arrival at the Guard Room I was told that 'Lt. McLaren was away at the moment but would be back later that night.' As soon as the name was mentioned, I realised that this must be the same Bill McLaren that I had still to meet up with. You have to remember that we had never previously met, so next morning when I had reported to take over the Barracks and we were walking across the barrack square, I simply turned to him and in my best local doric enquired, "!.......by the way, how's Hawick?" His jaw dropped and his face broke into a wide grin, 'Blimey, he said, 'it's Sergeant Murray.'
The same Bill McLaren was to go on into civilian life where, after a serious illness, he took up his old passion for rugby and in that sphere he was to become a top commentator for the B B C. His radio and TV commentaries were heard world wide; he was the voice of rugby.
The next time Bill and I met was back in our home town of Hawick. After a spell in hospital he was working as a Journalist on the 'Hawick Express'. It was the Editor of that paper, Jim Hood, who introduced him to the BBC as a rugby commentator. The rest is history.
THE ARMY HAS A LAST FLING.
I eventually caught up with the Battery at Salsamaggiore only to find that they were in the midst of a final pack up for a move to Greece. As I was not involved, I was told to expect a posting to 17th Field Regiment RA in Milan, to await demob. I moved with two others to 17th. Field at the end of January, and then my problems started all over again.
I should explain that my rank of L/Sergeant was classified as a local one. As I was a qualified Artillery Command Post Assistant, an "Ack' in artillery jargon, I qualified for tradesmans pay. The 23rd. Field Regiment had decided to give me local rank as otherwise I would have lost my tradesman status on assuming the rank of Sergeant. In simpler terms I was earning more money as a War - substanted Bombadeer (two striper) carrying out the job as an 'Ack' than I would have done with the rank of Sergeant where the tradesman element did not apply.
So what happened? As soon as I moved to 17th Field RA, and within three weeks of demob, they pulled a strip off me. I was hopping mad. However, there was little I could do but I made my feelings very clear to the Senior Ranks in my temporary unit. We had a very decent Major in the Battery and he was very apologetic but he had no authority to alter the circumstances.
I took my revenge on the RSM of 17th. Field. Like all typical RSM's Guard mounting drill was his pet baby and even on the run up to demob, guard duty still came along frequently. I've always possessed rather a loud voice. I think it stems from my younger days as a singer and the RSM of 17th Field was determined to get his pound of flesh from NCO's passing through his hands awaiting demob.
Guard mounting drill was something I really had perfected after nearly six years of practice but the RSM was unaware of this; to him we were still recruits. I said nothing at all to his instructions but on my first Guard with 17th Field I waited until it was my turn to give the commands, then I really gave voice. The Guard snapped to attention, the RSM took a couple of quick steps backwards. To his credit after that we became quite good friends.
However, the demob date was drawing ever closer and one of my very last duties was an escort job from Milan to Naples by train. It was almost as though I was being given a last long look at the Italian countryside over which we had waged a War for almost three years. We even went past Cassino on the same, now rebuilt, railway track where once I had nearly come to grief. The area of the old Cassino gun position was still clearly visible.
DEMOB
The Diary entries under 'Demob' really says it all. Between 15th February and 6th March the trappings of Army life began to scale down. By this time I knew that my release date was 9th March which appears to have been a Saturday and so it turned out. The Diary can tell the rest of the story.
9th March 1946:
The demobilisation process has begun. This morning we left the 17th Field Regiment RA and reported at the assembly centre at Milan. Our papers were checked and re-checked and we await our turn now for a train and a single ticket home. With luck I should leave Monday morning and be in England by mid-week. My demob centre is Redford Barracks, Edinburgh, ,which gives just the right touch, for it was there I started on 11th April 1940 and there , God willing, I am due to finish just short of six years later in March 1946, and in a matter of days from now. I feel vaguely excited and unsettled as though I want to cast aside something which demands a last effort and which in reality is no effort at all. I seem to be on the brink of something which can hardly be a reality but which, in fact, it very much is. It is difficult to realise that a date of return does not exist. It would almost seem that the whole thing would be more normal if such a date did exist, but that really is not the case. Fact is, I'm tired, dog tired, in mind and body. I need this rest and I shall have it. The future in war worked out its own destiny. Let the future in Peace do the same. I am sure it will.
10th March 1946:
Have not been into Milan again and we are off for Calais at 4.30 am. By tomorrow, all being well, we should have said goodbye to Italy and be en route for the Channel ports. The journey, single ticket, is very nearly begun.
#11th March 1946:
Left Milan at 0430 hrs. as arranged travelling by train and we got away on time., The route was the same as we followed when going through on leave in September and by the evening of ...........
12th March 1946:
at 5 o'clock we were pulling into Calais. The organisation there was very good and within half an hour of entering the camp , we were settled for the night. We are No. 1 area going to Scotland, and we sail on the first boat in the morning. We put our beds down for our last night on the Continent. It is nearly over.
13th. March 1946: This has been a momentous day for whilst I am still in uniform and sleeping in an Army barracks, I am tonight, on paper at least a civilian. We crossed from Calais to Dover this morning. The channel was rough and I felt thoroughly unwell but made it without actually loosing my breakfast. At Dover we spent a few bad moment getting through Customs, but I was lucky enough not to be searched and I could ultimately breathe again. We entrained at Dover and arrived at the depot at Aldershot about 3 o'clock in the afternoon. From the station we were taken in troop carriers to the Barracks and allocated a bed in a barrack room for our last night in the Army. There we packed our kit, such as we had, and a meal followed. We were then ready for the next stage of the procedure which commenced at 4.30 pm. 'Area 1' were called at that time and we paraded carrying the remainder of the kit that we would hand over. We passed through the 'Q' department and were relieved of that surplus kit. From there we proceeded to the 'waiting room', (a converted M.T. shed complete with easy chairs !) to await our turn for the final documentation. Our turn came quickly and we heard various instructions and then passed before a large number of clerks, both civilian and military, until we reached the end table where an Officer stamped a date on the remainder of our release book. It was the date of the expiring of our release leave. He shook hands 'Goodbye old man, good luck.’
I don't remember answering him. I passed out through a door, hurriedly tucking a ten pound note and a variety of papers in the large envelope the Army had thoughtfully provided. It was all over. I was a civilian. We finished the process that night by buying nine weeks issue of cigarettes from the Naffi and we were completely finished, It only remained to get our civilian clothes and these we would collect at Woking first thing in the morning. I had a wash and shave and took a stroll to the Naffi in town for supper. I suddenly realised that I was dog tired. The reaction was beginning to set in , in a big way. I badly needed to get home - to completely relax.
14th March 1946:
We left Aldershot at 8 am and proceeded by truck to the RASC clothing depot at Woking to collect our civilian outfits. The whole process was again simplified by the fact that 'Area 1' were again taken first, having furthest to go to reach their home towns in Scotland and also it was a quiet day at the depot. I was finished by 10.30 am and then we went by truck to Woking station, thence by special train to London and from there went our separate ways.
I caught the 12.45 pm from King's Cross to Edinburgh Waverley, arriving in Edinburgh at 10 pm with just five minutes to catch the last train for Hawick and HOME. I had a bad few minutes crossing the station but I made it and sank gratefully into a seat for the last lap of the journey. I arrived in Hawick at twenty minutes to midnight. The family were on the station and a taxi was waiting. It was nearly finished. In ten minutes I was there, I was HOME. after six years, all but a few weeks, I was finished with it all. I wasn't excited, I wasn't even emotional, I was just utterly and indescribably tired. A chapter of my life, undoubtedly the biggest and most exacting chapter I should ever know, had ended.
FOOTNOTE. Although my papers had said that my Demob. centre was Redford Barracks, Edinburgh, that did not work out. It would have been a nice touch for that was where it all started. However, who was I to argue I had been successfully DEMOBED
A SUMMARY
8th April 1940:
Joined the 38th Signal Training Regiment RA at Redford Barracks, Edinburgh. My intake squad number was 23. I was 23 years old having just passed my 23rd birthday on 3rd April, 1940.
September 1940:
Posted from Redford Barracks to 23rd Field Regiment RA encamped at Ewshot. Hants. I had passed out as a signaller and I was assigned to 60th Field Battery RA. They had 25 pounder field guns. Our training period continued and eventually our permanent billet was at Bovey Tracey, Devon.
21st December 1942:
We left Bovey Tracey on the night of 21st December 1942 for active service overseas. We went aboard ship at Glasgow and after 10 days at sea, we landed at Algiers, North Africa as a unit of the 1st Army.
17th / 18th January 1942:
60th Field Battery RA came into action at Medjez - el - Bab, North Africa on the nights of 17th / 18th January 1943. The North African campaign continued until the cease fire on May 12th 1943.
25th. September 1943:
We landed on the beaches of Salerno, Southern Italy, on 25th September 1943. The campaign in Italy continued and we eventually reached Padua in Northern Italy on 30th April 1945. On 1st May the following announcement was made "Last night General Mark Clark announced that all German military power in Italy had ceased."
8th September 1945:
Home leave under the LIAP scheme. From Riccione on this date . Journey by train throughout. Arrived Hawick on 13th September 1945. Left to return to Italy on 12th.. October 1945.
9th.March 1946:
Reported to the Assembly Centre, Milan for final demobilisation. Left Milan on night of 11th. March for journey home.
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3360
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dbpedia
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1
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http://tweedlandthegentlemansclub.blogspot.com/2010/12/demob-suit-and-developement-of-mass.html
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en
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"Tweedland" The Gentlemen's club: The "DEMOB" Suit and the developement of mass production in tailoring
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Returning home at the end of Second World War, men were offered by demobilisation a three piece suit, which became known as the "demob sui...
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http://tweedlandthegentlemansclub.blogspot.com/2010/12/demob-suit-and-developement-of-mass.html
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The "DEMOB" Suit and the developement of mass production in tailoring
Returning home at the end of Second World War, men were offered by demobilisation a three piece suit, which became known as the "demob suit" ...
This played an very strong role in the increasing of mass production tailoring ...
Burton, a clothing company, produced one third of all the demob suits, and even originated the popular expression ... the full monty ...("a full three-piece suit with waistcoat and a spare pair of trousers (as opposed to a standard two-piece suit) from the Leeds-based British tailors Montague Burton. When the British forces were demobilised after WWII, they were issued with a "demob suit". The contract for supplying these suits was fulfilled by Montague Burton, so the complete suit of clothes issued to the servicemen was known as "the full Monty".)
The Company was founded by Montague Burton in Chesterfield in 1903 under the name of The Cross-Tailoring Company. It was first listed on the London Stock Exchange in 1929 by which time it had 400 stores, factories and mills.
The Burton Company archives are held at West Yorkshire Archive Service, Leeds.
The Company had a large factory in Leeds which was visited by the Princess Royal in 1934.
After World War II Montague Burton offered men the chance to buy a full suit, which included jacket, trousers, waistcoat, shirt and underwear and became known as 'The Full Monty'.
Around 10,000 people worked on the site, producing over 30,000 suits a week. Burton was the biggest employer in Leeds.
Hudson Road was the heart of Montague Burton's empire. He chose Leeds because it was the centre of Britain’s textile industry and so he had access to skilled tailors and machinists.
Burton’s secret was to offer high-quality made-to-measure suits at low prices. "A five guinea suit for 55 shillings", was Burton’s promise.
Men would start work at 14 years of age as barrow boys, then be apprenticed as tailors or cutters.
However, men were outnumbered 10 to one by women. There were vast workrooms of machinists, with whole families working on the same production line.
The factory was described by former tailor, Sam Bernstein, as "a town in itself".
Burton made every effort to keep his staff happy - Hudson Road had the largest works canteen in the world, along with a pre-welfare state health and pension scheme.
Free dentists, chiropodists and even sun-ray treatment were provided for factory staff.
At the end of the Second World War, all servicemen returning home were issued with a set of civilian clothing, including a three piece suit. Many of the suits were made by the Leeds firm of Burtons. This was founded at the start of the 20th century by a Lithuanian Russian migrant Jew, Montague Burton (1885-1952), who initially established shops selling bespoke and ready-to-wear suits in Sheffield and Mansfield. As the business expanded Leeds became the manufacturing centre for the company. Montague Burton was knighted for services to industry in 1931, going on to endow chairs at several universities, including Leeds.
During the Second World War Burton's firm made a quarter of all British military uniforms. After the war Burtons continued as a successful business selling men's suits and clothing.
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What was National Service?
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In the aftermath of the Second World War (1939-45) the young men of Britain were called up to meet new challenges faced by the nation in a rapidly changing world. National Service, peacetime conscription, was introduced in 1947 for all able-bodied men between the ages of 18 and 30.
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Who was National Service for?
National Service was a standardised form of peacetime conscription. In 1947, it was announced that all able-bodied men between the ages of 18 and 30 were to be called up. This was quickly changed to all 17 to 21 year-olds. The conscripts initially served for 18 months. But in 1950, during the Korean War (1950-53), this was increased to two years.
Between 1949 - when the National Service Act came into force - and 1963 - when the last National Serviceman was demobbed - more than 2 million men were conscripted to the British Army, Royal Navy or Royal Air Force.
Were there exceptions?
The blind and mentally ill, as well as men in overseas government positions, were exempted from conscription.
Officially, no group of fit men in mainland Britain was systematically excluded from National Service. In practice, the Army authorities did not want to recruit large numbers of black and Asian British men due to prevailing racist attitudes at the time. Despite high levels of immigration in the mid-1950s, no black or Asian men were commissioned and only a few hundred black and Asian soldiers served in the ranks throughout the years of National Service.
Large numbers of those in reserved occupations, ranging from agricultural workers to clergymen, were excused from service on the grounds that their work was vital to Britain’s economic and social life.
To avoid possible civil unrest in Nationalist communities, men in Northern Ireland were also excluded from conscription.
Why was National Service necessary?
The end of the Second World War did not bring an end to British military commitments abroad. Britain still needed to maintain her diminishing Empire, occupy post-war Germany and Japan, and re-establish influence in the world, particularly in the Middle East.
The Cold War between the communist Soviet Union and the capitalist United States placed new demands on British manpower. And Indian independence in 1947 meant that Britain no longer had the huge Indian Army at its disposal.
To solve this manpower shortage and meet new post-war challenges, wartime conscription was extended into an obligatory period of National Service for men of military age.
Where did National Servicemen serve?
After training, National Servicemen were often posted to one of Britain's many garrisons around the world. They could end up in places as diverse as the deserts of Egypt and Libya or the jungles of Malaya and Borneo.
For many, this was the first time they had visited a foreign country, let alone lived in one.
What did National Servicemen do?
After 1945, Britain was struggling to retain her remaining imperial possessions. Some colonies transitioned to independence relatively peacefully. But in others, such as Kenya and Malaya, National Servicemen found themselves in the front line fighting guerrilla wars.
National Servicemen were also vital in providing the Army with a large garrison force in post-war Germany and a smaller one in Japan. More troops were needed to maintain peace in places experiencing civil unrest, such as Cyprus. Not all National Servicemen fully understood the political factors leading to their deployment.
What was the impact of the Cold War on National Service?
The rise of communism forced Britain to maintain a large standing army in the event of war. Divided Germany became a hotspot for tension and the National Serviceman was the first line of defence. Many of them served with the British Army of the Rhine.
A global war never came to pass. But National Servicemen did see action against communist forces in places such as Korea and Malaya.
How effective was National Service?
The Suez Crisis of 1956 forced Britain to re-assess its use of the armed services. The nation was no longer a world superpower, needing troops to maintain an overseas empire.
The threat of nuclear weapons rendered a large defence force ineffective, as it could only be met with nuclear deterrents. A large army was replaced by a rapid deployment force with modern weapons and equipment. The Defence Review of 1957 initiated a difficult period of transition.
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List of World War II television series
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Year Year Country Main title
(Alternative titles) Original title
(Original script) Battles, campaigns, events depicted 1960 1960 East Germany Toter Winkel Blind Spot (TV) Drama. German farm girl at odds with forced-labor camp, guards guilty of war crimes on verge of Soviet occupation period after war during 1945 directed by Wolfgang Luderer 1961 1963 United States Alcoa Premiere
"Seven Against the Sea" (1962 episode) Drama. US PT Boat island base decimated by Japanese forces in Pacific Campaign; pilot episode for comedy McHale's Navy 1962 1963 United States The Gallant Men Drama. US Fifth Army company in Italian Campaign 1962 1966 United States McHale's Navy Comedy. Misadventures of misfit PT Boat crew in Pacific Campaign and (later) Italian Campaign 1962 1967 United States Combat! Drama. Frontline American infantry squad battling across France 1963 1963 United Kingdom Moonstrike The series was an anthology programme: a collection of self-contained stories about acts of resistance in occupied Europe during the Second World War. 1964 1965 United States Broadside Comedy. WAVES (navy women) transferred to South Pacific Theatre to run motorpool on island; spinoff from McHale's Navy 1964 1967 United States Gilligan's Island
"So Sorry, My Island Now" (1965 episode) Comedy. Island is captured by Japanese sailor "Mine Hero" (1965 episode) Comedy. Wartime sea mine in lagoon "Forward March" (1966 episode) Comedy. Gorilla armed with wartime grenades 1964 1967 United States Twelve O'Clock High Drama. Missions of USAAF Bomber Group stationed on English air base and equipped with B-17s; based on 1949 film Twelve O'Clock High 1965 1965 United States Convoy Drama. Supply convoys and German U-boats in Atlantic Theatre that focused on an American destroyer escort and lead convoy freighter 1965 1965 Poland The Underground Front Podziemny front Polish resistance, 1941–45 1965 1966 United States Mister Roberts Comedy. US Navy cargo ship in South Pacific; based on 1955 film Mister Roberts 1965 1966 United States The Wackiest Ship in the Army Comedy. Spy scow/schooner based in the South Pacific Theatre; spinoff of film The Wackiest Ship in the Army 1965 1971 United States Hogan's Heroes Comedy. Allied prisoners in German Stalag 1966 1966 United States Blue Light Drama. 1966 1966 United Kingdom Court Martial Drama. Judge Advocate General's office investigating crime during war 1966 1967 United States Jericho Drama. Espionage 1966 1968 United States The Rat Patrol Long Range Desert Patrol 1966 1970 Poland Four Tank Men and a Dog Czterej pancerni i pies Tank crew, their dog, and their T-34 tank in 1st Polish Army on Eastern Front, 1943–45 1967 1968 United States Garrison's Gorillas Adventure-drama. Allied convicts recruited as commandos behind Nazi lines with offer of a post-war parole and inspired by The Dirty Dozen film; 26 episodes 1967 1968 Poland More Than Life at Stake Stawka większa niż życie Kapitan Hans Kloss, Poland and Germany, 1941–45 1968 1977 United Kingdom Dad's Army Comedy. English Home Guard 1969 1969 United Kingdom Manhunt Year Year Country Main title
(Alternative titles) Original title
(Original script) Battles, campaigns, events depicted 1970 1970 East Germany Jeder stirbt für sich allein 1970 1972 United Kingdom A Family at War 1971 1973 Australia Spyforce Action/drama. Australian series about the fictional Special Intelligence Unit (based on the real Services Reconnaissance Department) 1971 1971 East Germany Rottenknechte 1971 1974 Greece Unknown Warfare O Agnostos Polemos
(Άγνωστος Πόλεμος)
Drama. The adventures of a colonel of the counter-espionage service of Greece during the war. (226 episodes; remade in 1987) 1972 1973 United Kingdom Pathfinders RAF pathfinding missions 1972 1974 United Kingdom Colditz Colditz Castle POW camp 1973 1973 Soviet Union Seventeen Moments of Spring Semnadtsat mgnoveniy vesny (Семнадцать мгновений весны) Soviet spy operating in Nazi Germany 1973 1974 United States Roll Out Comedy-drama. Quartermaster Trucking Company of US Third Army's "Red Ball Express" in France 1974 1974 Czechoslovakia Once upon a time there was a house Byl jednou jeden dům The fate of the inhabitants of a house before and during WWII. 1974 1974 Yugoslavia Otpisani 1974 1975 Canada Witness to Yesterday Drama (talk show format).[1] Broadcaster Patrick Watson aggressively "interviews" historical figures, including Norman Bethune († 1939) 1974 1981 United Kingdom It Ain't Half Hot Mum Comedy. 1975 1977 United States
Wonder Woman Action/Drama/Sci-fi. Fictional stories of Wonder Woman battling Nazis. 1975 1975 Poland
Hungary Third Border Trzecia granica (in Polish) Polish Resistance in Poland, Tatra Mountains, Slovakia, Hungary 1975 1975 Yugoslavia The Farm in the Small Marsh 1976 1976 Iran My Uncle Napoleon داییجان ناپلئون Comedy. Tehran under Allied occupation 1976 1978 United States Baa Baa Black Sheep Gregory 'Pappy' Boyington and Marine Air Squadron during Pacific War 1976 1983 Australia The Sullivans Drama. The effects World War II has on the lives of an average middle-class Melbourne family 1977 1978 United Kingdom Backs to the Land Comedy. Land Girls 1977 1979 United States Operation Petticoat (Life in the Pink) Comedy. USS Sea Tiger, pink submarine in South West Pacific Theatre; spinoff of film Operation Petticoat 1977 1979 United Kingdom
Belgium Secret Army Drama. Belgian Resistance; followed by 1981 series Kessler 1978 1981 Denmark Matador Matador Fictional Danish town of Korsbæk, 1929–1947 1978 1978 United States Pearl 1978 1978 Yugoslavia Povratak otpisanih 1978 1978 United States Holocaust 1979 1979 United Kingdom Danger UXB British/PBS Drama centering on a Royal Engineers high explosives disposal unit operating in London defusing un-exploded bombs during the Blitz. 1979 1979 United States Ike Year Year Country Main title
(Alternative titles) Original title
(Original script) Battles, campaigns, events depicted 1980 1980 United States Goodtime Girls Comedy. Women's war effort on the homefront (Washington, D.C.) 1980 1980 East Germany Archiv des Todes 1981 1981 United Kingdom Kessler Drama. Former SS Sturmbannführer living under alias of industrialist to avoid discovery as war criminal; sequel to 1977–79 series Secret Army 1981 1981 United Kingdom Private Schulz 1981 1984 United Kingdom
Australia Tenko Women interned after the Battle of Singapore 1981 1981 Australia A Town Like Alice 1982 1992 United Kingdom 'Allo 'Allo! Comedy. Café in Occupied France, French Resistance, Communist Resistance, RAF, Stalag, Italian expeditionary forces, art heists, 1940–1944 1982 1992 United Kingdom We'll Meet Again 1983 1983 United States Casablanca Based on film Casablanca 1983 1983 United States The Winds of War Events that lead to WWII up to Pearl Harbor from the perspective of two families 1983 1983 United Kingdom The Fourth Arm 1984 1984 Australia The Last Bastion Mini-series about Australia's relationship with its allies during World War II 1984 1984 Ireland Caught in a Free State 1984 1984 East Germany Front ohne Gnade 1984 1984 United Kingdom The Jewel in the Crown The last days of the British Raj during and after WWII in India. Based on the four novels by Paul Scott known collectively as "The Raj Quartet." 1985 1985 Australia The Cowra Breakout Semi-fictional mini-series about the Cowra breakout, August 1944 1985 1985 Italy Mussolini: The Untold Story 1985 1985 Sweden Rød snø 1985 1985 Australia The Dunera Boys Mini-series based on the Dunera incident, 1940-1941 1985 1985 United States Jenny's War Woman launches rescue of RAF pilot son downed over Germany, 1941 1985 1985 Czechoslovakia Vlak dětsví a naděje The Train of Childhood and Expectation The story of a family from the Czechoslovak borderlands in the pre-war period and during the Second World War. 1987 1987 United Kingdom The Diary of Anne Frank 1987 1987 United Kingdom Fortunes of War 1987 1987 Australia Nancy Wake Drama. Mini-series about the exploits of New Zealand born SOE Operative and French Resistance member Nancy Wake 1988 1988 United States
Yugoslavia Dirty Dozen: The Series [2] Allied prisoners trained for "do or die" missions; spinoff of The Dirty Dozen 1988 1988 United Kingdom Piece of Cake RAF from Phoney War through Battle of Britain 1988 1989 United States War and Remembrance Continues the story of The Winds of War starting on 15 December 1941 and ending on 7 August 1945 1988 1991 Poland The Burning Border Pogranicze w ogniu Action-drama. German and Polish counter-espionage from 1918 to 1939 1988 1990 United Kingdom Wish Me Luck Drama-espionage. SOE women in German-occupied France 1989 1989 Australia Tanamera – Lion of Singapore Drama based on novel. 1989 1989 Australia
United Kingdom The Heroes Mini-series about the Allied commando raid on Singapore Harbour during Operation Jaywick Year Year Country Main title
(Alternative titles) Original title
(Original script) Battles, campaigns, events depicted 2000 2000 United Kingdom Monsignor Renard 2001 2001 United States Anne Frank: The Whole Story 2001 2001 United States Band of Brothers Action-drama. Non-fictional account of "Easy" Company (506th Parachute Infantry Regiment, U.S. 101st Airborne Division) from training to war's end, based on Stephen E. Ambrose book 2001 2001 Australia Changi Changi POW camp 2001 2001 Singapore In Pursuit of Peace Hérì Jūn Zàilái (何日军再来) Japanese occupation of Singapore 2001 2001 Singapore A War Diary Zhànzhēng rìjì (战争日记) Romance/Drama. Chinese family during Battle of Singapore and Japanese occupation of Singapore 2001 2001 United Kingdom The Cazalets 2001 2002 United Kingdom The 1940s House 2002 2015 United Kingdom Foyle's War Mystery. English police solving crime amid war in Southern England 2003 2003 United Kingdom P.O.W. Drama. German Stalag Luft and follows RAF crewman captured after Normandy bombing raid, 1940 2004 2004 United Kingdom Island at War 2004 2004 Russia The Cadets 2005 2005 United Kingdom Colditz 2005 2005 United Kingdom Churchill's Bodyguard 2005 2006 China Liang Jian Liang Jian (亮剑) Campaigns of 18th Army Group and Chinese People's Liberation Army from Sino-Japanese War to Chinese Civil War 2006 2006 Vietnam Under The Flag of Great Cause Dưới Cờ Đại Nghĩa From episode 38 to 46, set during the Japanese occupation of Indochina 2006 2006 Canada Above and Beyond 2007 2007 Poland Fortress of Codes Tajemnica twierdzy szyfrów Thriller. Polish and German espionage, 1945 2007 2007 Denmark Nazitübbies Nazitübbies Parody. Nazi Teletubbies 2007 2007 Hong Kong War and Destiny Leun sai gai yan (亂世佳人) (in Yue Chinese) Nanjing Massacre 2007 2007 Iran
Hungary
France
Lebanon Zero Degree Turn Madār-e sefr darajeh (مدار صفر درجه) (in Persian) Drama based on Abdol Hossein Sardari. Iranian student in occupied Paris in love with French-Jewish woman 2008 2008 Russia Apostle Apostol (Апостол) Life and treachery for Russian teacher trained as Abwehr double agent 2008 2008 Germany A Woman in Berlin 2 episodes covers the period between 20 April and 22 June 1945 in Berlin during the capture and occupation of the city by the Red Army 2008 2008 Estonia Windward Land Tuulepealne maa History of Estonia through two families, World War I to 1941 2008 2008 Germany Wilhelm Gustloff Die Gustloff Greatest Disaster of German transport ship wreck by a Soviet submarine in the Baltic Sea on January 30, 1945. 2008 2011 Poland Time of Honor Czas honoru Cichociemni (SOE agents) and Polish Resistance 2009 2009 Russia Zastava Zhilina[4] Zastava Zhilina (Застава Жилина) Romance drama. Set in 1941 2009 now France A French Village Un village français Occupied French village, from May 1940 –... (one month per episode) 2009 2011 United Kingdom Land Girls Drama. Land Girls 2009 2009 United Kingdom The Diary of Anne Frank 2009 ? China My Brother Named Shun Liu Wǒde Xiōngdì Jiào Shùn Liū (我的兄弟叫顺溜) Chinese sniper during the Sino-Japanese War 2009 now China My Chief and My Regiment Wǒde Tuánzhǎng Wǒde Tuán (我的团长我的团) Drama. Chinese National Revolutionary Army Expeditionary Force in Burma battling Imperial Japanese Army during Battle of Yunnan-Burma Road in Sino-Japanese War, 1942 Year Year Country Main title
(Alternative titles) Original title
(Original script) Battles, campaigns, events depicted 2010 2010 Hong Kong No Regrets (Rosy Business II) 巾幗梟雄之義海豪情 Drama. Canton, China during Japanese occupation 2010 2010 United States The Pacific Action-drama. Marines of the 1st Marine Division in Pacific Theatre 2011 2011 Russia 1942 1942 Drama. German invasion of Russia and partisans surviving in forests; continuation of 2009 film 1941 2012 2014 Canada Bomb Girls Drama. Canadian homefront and women working in Toronto munitions plant 2012 2012 United Kingdom Restless 2013 2013 Germany Generation War Unsere Mütter, unsere Väter Group of friends experience different fate during German 1941 east front campaign. 2013 2013 United Kingdom Spies of Warsaw A spy posing as a military attaché at the French embassy in Warsaw finds himself drawn into the outbreak of World War II. 2013 2013 Belarus Traces of the Apostles Следы апостолов
Сляды апосталаў 2013 2014 Russia The Bomb Бомба Action, Drama, War. 2014 2014 United Kingdom Fleming: The Man Who Would Be Bond Mini-series detailing the military career of James Bond creator Ian Fleming. 2014 2014 China Battle of Changsha 战长沙 Set between 1938 and 1945, depicting Battles of Changsha during Second world war. 2015 2017 Canada
Hungary X Company Drama. Canadian, British, and American spies based out of a training facility in Canada carry out missions in Nazi-occupied Europe. 2015 2015 Norway The Heavy Water War Kampen om tungtvannet Based on the operation surrounding the destruction of Nazi heavy water production facility in occupied Norway by the Norwegian Resistance. 2015 2015 Germany Tannbach Fictionalized story inspired by a village that was divided by the Iron Curtain along a brook known as the Tannbach, during the ending of the Second World War 2015 2015 France Resistance Résistance Paris 1940, based on the Groupe du musée de l'Homme 2015 now Georgia Kerch: The Lost Heroes Kerči: Daḳarguli Gmirebi (ქერჩი: დაკარგული გმირები) Drama. Centered around ethnic Georgians in the Red Army during Crimean Offensive and Battle of the Kerch Peninsula.[5] 2015 2016 United Kingdom Home Fires Drama. Set in a rural Cheshire community called Great Paxford, about the life of Women's Institute members on the Home Front during the Second World War. 2016 2016 United Kingdom My Mother and Other Strangers Drama set in 1943, centering on the townspeople of the fictional village of Moybeg, Northern Ireland, as they come to terms with the influx of thousands of American servicemen. 2016 2016 United Kingdom Close to the Enemy 2016 2016 Japan Tokyo Trial 2016 2022 Russia
Ukraine Under Military Law По законам военного времени
За законами воєнного часу Drama, History, War. 2017 2017 Germany Charité (TV series) The plot takes place in 1943 at a hospital under the Nazi regime during World War II and shows how the war affected the doctors, nurses and students at Berlin's renowned learning hospital 2017 2017 United Kingdom The Halcyon 2017 2017 United Kingdom SS-GB 2018 2018 Germany Das Boot 2019 2019 Germany Charité at War It is a sequel of Charité. 2019 2019 United Kingdom World on Fire Drama. Mini-series that follows the hidden lives of ordinary people from Britain, Poland, France and Germany during World War II. 2019 2019 United States
Italy Catch-22 Comedy, Drama. USAAF in the Italian campaign. Years Country Main title
(Alternative titles) Original title
(Original script) Battles, campaigns, events depicted 1964 1965 United States Jonny Quest
"The Devil's Tower" (1965 episode) Animated. Nazi war criminal has slave cavemen 1964 1968 United States Voyage to the Bottom of the Sea
"Death from the Past" (1967 episode) SF adventure. Nazis who believe the war has not ended 1966 1967 United States The Time Tunnel
"The Day The Sky Fell In" (1966 episode) SF adventure. Time travellers at Pearl Harbor the day before "Invasion" (1966 episode) SF adventure. Time travellers in Cherbourg before D-Day 1966 1969 United States Star Trek
"The City on the Edge of Forever" (1967 episode) SF drama. Time-travelling Dr. McCoy causes Hitler to win the war "Patterns of Force" (1968 episode) SF drama. Alien society modelled after Nazi Germany 1975 1976 United States Wonder Woman
(The New Original Wonder Woman / The New Adventures of Wonder Woman) (Season 1 only) Diana Prince battles Nazi villains; Wonder Woman (TV) spinoff 1980 1980 United States Galactica 1980
"Galactica Discovers Earth" (episode) SF adventure. V-2 rocket programme receives future technology 1989 1989 United Kingdom Doctor Who Season Twenty Six
"The Curse of Fenric" (4 episodes) SF adventure. The Doctor and Ace confront an ancient evil, while trying to stop the British Navy and a group of Soviet commandos from destroying each other 1993 1999 United Kingdom Goodnight Sweetheart Comedy-Fantasy. Time traveller living two lives, between 1940's wartime London and 1990s 1999 2004 United States Angel
"Why We Fight" (2004 episode) Vampires encounter undead U-boat crew 1999 present United States Family Guy
"Road to Germany" (2008 episode) Animated SF comedy. Time-travelling Brian and Stewie in a Warsaw shul, 1 September 1939 2001 2005 United States Star Trek: Enterprise
"Storm Front (Star Trek: Enterprise)" (2004 episode)
SF adventure. Aliens from an alternate timeline join with Nazis to attempt a takeover of Earth while at the same time attempting to return to their native timeline
2004 2005 Japan Zipang Jipangu (ジパング) Anime. Japan Maritime Self-Defence Force destroyer travelling through time to early days of war 2007 2020 Japan Strike Witches Sutoraiku Wicchīzu (ストライクウィッチーズ) Anime. Set on an alternate Earth that being invaded by aliens call the "Neuroi", most of Witches are based on the World War II flying aces 2008 2010 Japan Hetalia: Axis Powers Hetaria Axis Powers (ヘタリア Axis Powers) Anime. Characters as national personifications of wartime countries 2011 2011 United Kingdom Doctor Who Sixth Series
"Let's Kill Hitler" (episode) SF adventure. Time travellers lock Hitler in a cupboard, 1938 2015 TBA Japan Kantai Collection Kantai Korekushon -KanKore- (艦隊これくしょん -艦これ-) Anime. Set in a world with the monsters from the deep sea called the "Abyssal Fleet", all Fleet Girls are based on the World War II warships 2016 2016 Japan Izetta: The Last Witch Shūmatsu no Izetta (終末のイゼッタ) Anime. Set in an alternate Earth with a story based on World War II, featuring a witch that possesses the ability to magically manipulate any object that she touches 2018 2018 Japan Katana Maidens: Toji No Miko Toji no Miko (刀使ノ巫女) Anime. Set in the modern time, however the story also focuses on a project dated from near the end of the World War II 2019 2019 Japan Azur Lane Azūru Rēn (アズールレーン) Anime. Set in the world that being invaded by the mysterious creatures called the "Siren" and other nations fight each other, all ships are based on the World War II warships
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Demobilization in England
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"W. P. Crozier"
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1919-02-01T05:00:00+00:00
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The Atlantic covers news, politics, culture, technology, health, and more, through its articles, podcasts, videos, and flagship magazine.
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https://cdn.theatlantic.com/_next/static/images/favicon-3888b0e329526a975703e3059a02b92d.ico
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The Atlantic
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https://www.theatlantic.com/magazine/archive/1919/02/demobilization-in-england/646582/
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I
IN England, as will be found elsewhere, demobilization is a much more complex matter than appears at first sight. The fighting is over: why should not the millions of mobilized men be distributed again among the industries which are thirsting to absorb them?
There are two obstacles to a general and immediate release of large numbers of men. General demobilization cannot begin until peace is secure; and although we know in fact that Germany has been, by the terms of the armistice, rendered powerless to renew the war, it is only common prudence to postpone the beginning of general disbandment until at least the peace preliminaries have been signed. The peace preliminaries are an outline of the terms of peace which, signed by the belligerents, have binding force, but which require to be filled out in detail by the final treaty; and the settlement of the details may take many weary months.
A second difficulty is the state of the industries to which the demobilized men will return. The industries need men, it is true, but at present they lack the raw material with which to furnish employment for the men. In cotton spinning and weaving there are now 150,000 fewer men and women employed than when the war began; in the building trades 350,000 fewer men; in paper-making 100,000; and so on in many other industries. Before these numbers can be reëmployed, the necessary raw materials for their work must be imported, and that is a question of the tonnage-supply. At the moment, therefore, the great need, from the point of view of industry and reëmployment, is, not to disband the army as rapidly as possible, but to collect all the available shipping in order to restock the country with sufficient raw materials. Thus the interval between the signing of the armistice and the settlement of peace presents an opportunity. Demobilization proper, which means the transport, not only of great numbers of men, but of vast masses of military stores, will itself make a heavy demand on British shipping. At present the transport of men and munitions to the front from England is comparatively small, and shipping can be spared for importation. Shortly, when a large supply of materials has begun to flow into the country and when peace is actually between our hands, it will be possible to release by rapid process between three and four million men from the navy, the army, and the airforce.
But that is only one, though much the largest, part of the demobilization problem. There are also the war-workers. In the munitions industries it is estimated that, while the great bulk of the workers will remain and carry on the normal peace occupations of the trade, not less than a million (mostly women) will have to search for employment in some other field. That is the main problem on the civil side. There is another which demobilization brings with it — the future of the ‘war-substitutes,’ again mostly women, large numbers of whom will certainly be displaced by the returning men. Over a million and a half women have entered industry and commerce during the war. Such, broadly, is the problem.
General demobilization is postponed; within narrow and restricted limits the process has already begun. Both now and in the future the guiding principle is to be the needs of industry. There will be no demobilization by military units; that method would only flood the country with unemployed. Individuals, not units, will be released, according as industry can absorb them, and there are jobs waiting for them to take up. The men who are now being brought back are of three classes.
First, the miners. They are needed, like the ships bringing in the raw materials, to lay the foundations for a great expansion of industry, and they are needed at once. A hundred thousand are to be released forthwith. We hear little of the immediate release of railwaymen, but it seems certain that the influx of raw materials and the increased production of coal will demand the early return of numbers of men to enlarge our transport facilities; even the slowing down in the dispatch of military supplies to the front will scarcely supply the necessary means. The second class to be released are the ‘demobilizers,’ those who are required to work the machinery of demobilization. These include the officials of the labor exchanges, upon whom the success of the whole process will largely depend, and additional personnel to carry out the transporting of so many troops in a short time by sea and land. Thirdly, the ‘pivotal’ men. These are they on whose employment turns the employment of much larger numbers than their own. The number of them to be returned at once is put at 150,000.
For every man in all three classes a job is waiting. On their speedy return and the work that they will do, together with the provision of adequate raw materials, depends the possibility of a rapid and successful general demobilization of the forces.
II
The machinery for demobilization has been carefully thought out. The Ministry of Reconstruction — a thinking but not an executive department — has worked out the plans, in conjunction with the Ministry of Labor and the War Office. It is believed that sixty per cent of the forces have work of some kind awaiting them, and the problem is to bring the man to his job as smoothly and quickly as possible.
We start, then, with the man. He receives a form on which he will give particulars as to himself — his previous employment, whether married or single, and especially whether he has received from his employer an undertaking to receive him back. This form will be sent to the Labor Exchange in the area in which the man normally resides, and it will be the business of the Labor Exchange to verify his statement. Employers, on their side, are being asked to fill up cards asking for the return of those men whom they need, so that the card of the employer ought to meet the soldier’s form at the Labor Exchange. When the employer has not sent in the card, the Labor Exchange will inquire of him whether he proposes to take back the man whose form it has received. In either case, whether the employer assents after inquiry or has already sent in his card, the Labor Exchange tears off a ‘slip from the foot of the man’s form and returns it to his commanding officer. In this way the ‘ slip men ’ are constituted, — those for whom work is waiting, and preference will be given to them in order of release. But they will not all stand on an equal footing. The Government has divided the trades and industries of the country into forty-two groups, and these it has arranged in a ‘Priority List’ according to their importance to the nation, the state of the supply of raw materials in each, and so forth. It thus refines the principle of the needs of industry: the reservoir of‘slip men will be drawn on according to the needs of those industries which are, at the moment, the most essential to the country and the most capable of expansion.
Again, within the groups on the ‘Priority List’ there are certain qualifications in the choice of men. Preference will be given to married men, to men with a record of long service in the field and to those long-service menalas! there can be but few of them left — who entered the army before the war. As for the forty per cent of the army who apparently will be ’non-slip’ men, without work waiting for them, they too will be demobilized in their turn according to the importance of their previous trade or occupation on the Priority List.
There is, naturally, no little discontent among some sections in the army with this machinery. Married men with families and men who have been on active service for the greater part of the war are inevitably aggrieved that others with no such title to consideration should be released before them. They will receive the sympathy of all humane men, but there can be no doubt that the British Government has chosen aright in subordinating other considerations to the smooth and ordered reabsorption of the army into industry.
There is a natural disquietude among some of the men abroad as to whether the army at home, being on the spot, will have an unfair advantage in securing the employment that is open. It has therefore been arranged that, so far as possible, the home and foreign armies shall be demobilized in equal proportions. The sick, wounded, and prisoners of war will be released without any reservation, as soon as they have been sent back to England or are fit for return to work. It will not, of course, be possible to send home, at any rate in the early stages of demobilization, the whole of any units abroad. As the process goes on, involving, as it will, the removal of immense quantities of military supplies, a certain number of troops will be required as guards and supervisors, and units will therefore be reduced to cadres which it is expected will number about a third of the strength. These cadres will in their turn be brought home gradually, as circumstances may permit.
The navy, again, stands on a special footing. Its demobilization depends on the certainty and security of the peace settlement, and all that is decided at the moment is that demobilization, when it begins, will keep in view the necessity of reëstablishing the mercantile marine and fishing industry. Whatever be the general character of the peace settlement, however, it ought obviously to be possible to release without delay a large number of the men who have been engaged in the immense fleet, numbering from three to four thousand ships of all kinds, which has constituted the anti-submarine service.
The machinery for the return of the soldiers from their stations abroad to their places of residence or work at home has been drawn out in great detail; and in order that there may be no hitch in the organization, complete rehearsals have been held at various stages in the process. Concentration camps will be set up at various points behind the front. These camps will serve certain fixed dispersal areas at home, of which there are twelve, containing eighteen dispersal stations. In giving the soldier information as to what, exactly, will happen to him on demobilization the Ministry of Reconstruction addresses him in these terms:
‘For instance, if your home is in Bradford, you will be sent from your unit to the concentration camp for the West Riding of Yorkshire, where you will meet other men from other units, all of whom are going to the West Riding. From that concentration camp [or collecting place in the case of units serving at home] there will be mapped out a particular route by which parties will travel direct to the dispersal stations in their particular area at home.’ Every soldier will receive a dispersal certificate, informing him what he has to do, together with a list of the arms and equipment which he has to carry. Arrived at the dispersal station, he will hand in his arms and equipment, which must correspond with the list, and he will then receive certain documents and be sent on twenty-eight days’ furlough. The documents include a railway warrant to his home, a protection certificate to show that he is a properly demobilized man, a gratuity based on the length of his service (for a private who has served over-seas five pounds for the first year and ten shillings for each additional month), a ration-book, and a so-called ‘donation policy, ’ which comes into force in case of unemployment.
To the gratuities there are three classes of exceptions. No conscientious objector will receive them; no man who has been discharged within six months as medically unfit for service; and no man who has been released for civil work for the time that he has been engaged on such work at full rates of civil pay. During his twenty-eight days’ furlough, the soldier will receive his ordinary pay and ration allowance, and his separation or family allowance to his wife or dependents will be continued.
At the end of the furlough the soldier will, to quote the words of the Ministry of Reconstruction, be ‘finally demobilized.’ It will be noticed that the word ‘discharged’ is not used; and inasmuch as the phrase chosen by the Ministry is a reply to a supposed question in which the soldier asks about the date of his ‘final discharge,’ it has been keenly criticized. The soldier asks whether he is to be ‘discharged,’ that is to say, completely released from all his military obligations; and he is told only that he is to be ‘demobilized,’ which means, not discharge, but continuance under some sort of obligation to rejoin the army. For some time there was considerable doubt as to the Government’s intentions on this point, and from certain answers which were given in Parliament, it appeared that the Government itself had either not made up its mind whether it would or would not maintain military authority over the demobilized forces, or was not ready at the time to declare its intentions. All doubt has, however, now been cleared up by a new army order which has been issued by the War Office.
It is obvious that the general military policy of England must depend on the character of the peace settlement. If we are to have the Europe and the foreign policy of the past, we shall need one kind of army; if we obtain the League of Nations and disarmament, an army — or a police contingent — of a very different kind. But meanwhile, even if only on a small scale, demobilization is beginning. The question, therefore, which the soldier is asking,— whether on being sent home he will be finally and absolutely released from military authority, — has been decided in the negative. The War Office has formed a new army reserve called Class Z. Into this reserve all the men will be passed who are now coming home, and they can be recalled to the army, in the words of the order, ‘in the event of an emergency, remobilization becoming necessary.’ It is quite clear, however, that this army reserve is likely to receive a great many more of the demobilized soldiers than the early and privileged classes which precede the general dispersal. After stating that the new class is intended for the man now coming home, the order goes on to say that it will apply to all men demobilized so long as the Military Service Acts remain in force. The acts, however, will in all probability remain in force for a considerable time (estimated by some authorities at eighteen months), which will depend on the duration of the Peace Conference. It is not merely a question of the peace preliminaries, which may be signed in the early spring, or even of the final treaty, which some authorities think will require a further six months, but of the ratifications of the treaty of peace, which will be deposited by the signatories in due course. At least until the ratifications have been received, Class Z will remain in existence, and there would therefore appear to be no doubt that the great bulk of the demobilized army, on returning to industry, will be comprehended within the new reserve, and will be liable to be recalled for service in case of a sufficient emergency. Subject to this obligation, the War Office lays no restriction whatever on the demobilized soldier. He will not be subject to any form of military discipline. He will not, by virtue of his inclusion in the reserve, forfeit any right he may otherwise possess to a disability or other pension, and the order remarks, perhaps a little ambiguously, that ‘ it is not intended that the formation of the new reserve should be a bar to emigration or repatriation over-seas.’
It would be unreasonable to object to the decision of the Government to retain their hold in this manner over the demobilized army. Probability is one thing and certainty another. It is improbable in the extreme that any emergency will arise in Europe which could require the recall of the army or of any large part of it. On the other hand, absolute certainty there is none; and just as caution forbids the Government to demobilize during the armistice, which is technically only a suspension of hostilities, so prudence forbids them completely to relax their hold over our military forces until the final signature of peace.
Demobilization, however, brings with it an immediate military problem which is not solved by the creation of Class Z, and the solution of which cannot be left until the final peace settlement. That is the question of the provision of garrisons over-seas, for example, in India and Egypt; possibly also in Germany, if forces have to be kept there until the German Government has carried out the conditions of the peace treaty. The Government has therefore decided forthwith to raise a special voluntary army, which will be a substitute for the forces at present forming the overseas garrisons and will constitute the necessary reserves at home. Men at present in the army are being invited to extend their period of service for two, three, and four years, if they are between the ages of nineteen and thirty-five, and special bounties and periods of furlough are being held out to them as an inducement. The formation of this army is independent of anything it may be necessary to do when the military policy of England comes to be settled after the treaty of peace.
In spite of all that the Government has done and may be able to do, there is likely to be considerable unemployment. It has already been stated that only some sixty per cent of the men in the army have promises of reinstatement from their employers, and for some time at least the difficulty of providing adequate raw materials and tonnage for the country’s industries is certain to be great. The Government has therefore put into force a scheme of unemployment benefit, in order to tide over the transition period. The demobilized soldier or munition-worker will endeavor to find employment through the local labor exchanges; and working in conjunction with these, there will everywhere be local advisory committees, of which some two hundred and sixty have already been set up. These committees will consist in equal proportions of representatives of the employers and of the employed, and it will be their business to consider the state of trade and industry within their area and to act as advisers to the labor exchanges, and also to the men seeking employment, with regard to the available openings and the capacity of industry to absorb labor.
After an effort has been made to find employment and has failed, the socalled donation policy comes into force. The demobilized soldier will be entitled to receive benefit for twenty weeks during the first twelve months, at the rate of twenty-nine shillings per week, with six shillings a week for the first child under fifteen years of age and three shillings a week for each additional child. Women who have been engaged with the military or naval forces will receive twenty-five shillings a week, with the same allowances for dependents. The same scheme applies to civilian workers, except that it will be in operation for six months instead of twelve, and the donation will be payable for thirteen instead of twenty weeks. There are reduced rates of benefit for boys between the ages of fifteen and eighteen, who receive fourteen shillings and sixpence, and girls of the same age who receive twelve shillings and sixpence. Vigorous protests against these rates of pay have already been raised by certain sections of labor, which demand that the benefit for adult workers, whether male or female, should be fifty shillings per week. No payment will be made during the first three days of any period of unemployment. This provision is adopted from the existing organization under the Insurance Act, and is intended to supply a period during which the applicant must make an endeavor to find work, or must accept the work that is offered, if the Labor Exchange concerned is of opinion that the offer is a fair and reasonable one.
Special provision will have to be made with regard to the disabled men. The plan which holds the field and which in broad outline has now been adopted by the Government is that known as the Rothband scheme, after its originator, a large employer of labor in the North of England. Mr. Rothband’s proposal was that a national appeal should be made by the King, to all employers of labor asking them to bind themselves to give employment at the close of the war to disabled men. Lists of employers who had given such an undertaking would be compiled and would be placed in the hands of the labor exchanges, whose business it would be to see that they fulfilled their obligations. The obligation would be only a moral one, but obviously the labor exchanges would have the means of bringing pressure to bear in the case of the attempt of any firm to shirk its undertaking. The scheme has its weak side, in that certain employers would probably persist in standing out; and if they chose to put up with the discredit, they might succeed in burking their obligations. On the other hand, the only alternative would appear to be a compulsory scheme, which would be extremely distasteful to employers and would put a premium on the slackness and inefficiency of any men who chose to trade on the knowledge that there was a legal obligation on employers to find work for them. The idea of compulsion was, therefore, abandoned, and it is anticipated that after the elections the national appeal will be made, although it is yet uncertain whether it will be put forward by the King or by the Government. It may be added that the same kind of question was debated by the Imperial Government in Germany before the revolution, and there, too, the idea of a compulsory scheme was finally abandoned as impracticable.
Much has been made in England of the provision of land for ex-soldiers and sailors as part of the demobilization scheme. Many plans have been discussed, but little has been done. In 1917 the War Office took a plébiscite of certain forces at the front, and it was afterwards announced that no less than seventeen per cent of the men had expressed a desire to go on the land when the war was over. This figure, which amounts roughly to three quarters of a million men, should be heavily discounted. Large numbers of men, especially when they had been only a short time in the army, declared the attractions of the free and open-air life to be such that they would not on any account return to their former and frequently sedentary occupations. It has, however, been found that the longer time they spent in the army, the more contented they became at the prospect of returning to their former employment; and probably the number who have any serious desire to go on the land is very much smaller than that suggested by the plébiscite.
Another large reduction has to be made for those who have neither experience nor capital. The Government made a start with its policy of finding land for ex-soldiers by means of an experiment under the Small-Holdings (Colonies) Act of 1916. The feature of the scheme was that the land colonies were to be established on a communal and cooperative basis. The settlers worked in the colony either as individual small holders or as members sharing the profits derived from working the colony as one large farm. An estate was, for instance, leased from the Crown in the East Riding of Yorkshire, and it was the original intention that the colony should consist of a central farm and sixty small holdings ranged round it. The central farm was, in the first instance, to embrace the greater part of the estate, and land would be gradually taken from it and added to the small holdings as the settlers became qualified for their work. It was afterwards decided that, in the first instance, the estate should be worked as a whole on a profit-sharing basis, instead of being divided up into small holdings. Another colony, in Lincolnshire, was designed for market-gardening, and the intention was to divide it up into holdings of about ten acres each. These experiments, however, touch only the fringe of the subject; only four colonies have been provided with a total of six thousand acres. Sir Richard Winfrey, Parliamentary Secretary to the Board of Agriculture, expressed the hope a few months since that eventually one million acres would be secured, but demobilization is already close upon us and little has been done.
Not long before the close of the last Parliamentary session, the Government introduced a bill to make it easier for the county councils to secure land for the purpose of allotments or small holdings, and also to make it easier for them to erect houses and buildings for settlers. Plans, however, are one thing and practice another, and at the present time we have not got beyond the pioneer colonies and the gift from certain public-spirited landowners, like the Duke of Sutherland, of farm lands to be used for the benefit of soldiers. The whole question is hedged about with difficulties of finance and ownership. In the Dominions the problem is much simpler, and some of the governments, which have much land at their disposal, are putting generous schemes into force for the benefit of the returning troops.
In other directions the Government is taking various measures to assist demobilized officers and men. There are, for instance, the men who on going into the army were compelled to break their apprenticeship in various industries. Many of them will now desire to complete their training, but they could not do so if at their present age they were to receive only the wages appropriate to their position as apprentices. The State will therefore step in and make an addition to the wages which the employer pays. In the Civil Service, for twelve months from the beginning of demobilization, all permanent appointments will be reserved for ex-officers and ex-soldiers. The only exceptions will be such posts as require special qualifications or involve special responsibility or are held by men unfit for general service. Again, assistance will be given to officers and men whose professional training was interrupted by their entrance into the army. Provision is being made to assist those who by reason of their military service are unable to meet their financial obligations after the war, such as rent, insurance, or school-fees; and the Civil Liabilities Department will be instructed to lend aid, especially in the case of the one-man business, the closing of which has been one of the chief hardships of the war. A minor but not unimportant help given by the Government is the provision of free passages for the wives and families of officers and men returning over-seas.
Demobilization brings with it also a group of problems relating to material of war. Special measures have to be taken to deal with vast quantities of army stores. It has not been forgotten in England how great were the scandals in South Africa when military supplies were disposed of after the Boer War. The value of the army stores which will now have to be sold is put at about five hundred million pounds, and the Government has instituted a general survey, both of the materials to be disposed of and of the uses to which they may be put in the various industries of the country. The Ministry of Reconstruction has come to the conclusion that there ought to be a Ministry of Supply, dealing with the whole question of the provision and the sale of government stores of all kinds; and it is projected, apparently, that the Ministry of Munitions, having finished its own work, should be transformed into such a ministry. Except, however, for the decision that one single organization shall be made responsible for the sale of the military stores, and that the process shall be based, so far as possible, on a careful analysis of the needs of our industries, the Government’s intentions have not been announced.
There are other very difficult questions of a like kind, such as the future of the national factories and workshops, some of which are not even yet fully constructed. Dr. Addison, the Minister of Reconstruction, has explained that they fall into various classes: those that are state-owned, those that are partly state-owned and partly owned by firms; those that are serviceable for the purpose of storage, and so on. The policy of the Government with regard to their disposal is awaited with much interest. It involves large and difficult questions of finance and employment, and its broad outlines yet remain to be announced. England, therefore, has her plans in varied stages of elaboration. Some are perfected, like those relating to the demobilization of the home and foreign armies. Some are extremely vague, especially those relating to all questions of material, and on the provision of material depends the employment of the demobilized men and women. To all plans alike the test of execution has still to be applied. There are, at the moment of writing, many complaints of the slowness with which the demobilization of even the first selected men is being conducted. But allowances ought to be made. The position is rather like that of any army which, having conducted a long and continuous offensive, is suddenly thrown on the defensive. All our organization has hitherto looked outwards toward the front. Now we have suddenly to change front, to face both ways, to organize another and an inward-flowing stream. At the same time, the Government has to feed our industries with raw materials, grapple with gigantic problems of supply, and control the transference of the war industries to works of peace. The General Election distracts both ministers and people from the attention that they should be giving to these problems. Not until it is over and done with, are we likely to learn the full plans of the Government on some subjects which will necessarily affect the amount of fresh employment and therefore the rate of demobilization. This is a period of experiment and improvization, and the test is about to begin.
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https://www.moviestillsdb.com/tv/demob-i105985/iOE1Cz
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Publicity still of Samantha Womack & Griff Rhys Jones
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Demob - Publicity still of Samantha Womack & Griff Rhys Jones. The image measures 2097 * 1418 pixels and was added on 14 July '20.
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https://www.moviestillsdb.com/tv/demob-i105985/iOE1Cz
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http://eustonfilms.blogspot.com/2010/09/robert-holmes-complete-credits.html
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The Story of EUSTON FILMS: ROBERT HOLMES
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Nothing whatsoever to do with Euston, but in the spirit of celebrating classic British TV I thought it might be interesting to try and dr...
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http://eustonfilms.blogspot.com/favicon.ico
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http://eustonfilms.blogspot.com/2010/09/robert-holmes-complete-credits.html
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ROBERT HOLMES - the complete credits
Nothing whatsoever to do with Euston, but in the spirit of celebrating classic British TV I thought it might be interesting to try and draw together all the credits amassed by the screenwriter Robert Holmes, justly celebrated for his work as both writer and script editor of Doctor Who, but who also worked on many other television series, some very famous, some largely forgotten, over a period of almost 30 years (1958-1987).
Some brief biographical data: Robert (Colin) Holmes was born on 2 April, 1926. In 1944 he joined the army, becoming the youngest ever commissioned officer in the Queen's Own Cameron Highlanders and serving in Burma. After demob he joined the police and eventually on to court work, where he left the force to become a court reporter and journalist. Working in the Midlands as a sports journalist in the mid-1950s, he became the final editor of the famous "John Bull" magazine, and started to write sample scripts for popular TV series.
His first credits for television are alleged to have been four episodes of the popular twice-weekly ATV hospital drama Emergency - Ward 10 in 1958, but I can find no record of these. His regular work on this show doesn't come until 1962.
In September 1959, he began work as Story Editor on a new Granada series called Knight Errant '59, kind of a precursor to The Equalizer but probably without the violence or Stewart Copeland theme tune. Credits will run chronologically as regards the first episode of each different series he worked on.
Knight Errant ‘59, becoming Knight Errant ‘60 [Series 1]/Knight Errant Ltd [Series 2] (Granada 1959-1961, 75 x 50m)
Crime drama series following the private investigations of the Knight Errant agency.
Story Editor (1959-60), plus writer:
1.19 “The Creditor” (16.02.1960)
1.29 “The Wall of Death” (26.04.1960)
1.31 “Brother Cain” (10.05.1960)
1.37 “The King of Kandoga” (01.07.1960)
Harpers West One (ATV 1961-63, 32 x 50m)
Weekly soap opera set in a large West End department store, created by John Whitney & Geoffrey Bellman. Tagline: “Shopping with the lid off!”
1.02 tx 03.07.1961
2.10 tx 19.11.1962
2.14 tx 24.12.1962
Family Solicitor (ATV 1961, 24 x 50m)
Series starring Robert Flemyng and A J Brown as, respectively, Anthony Freeman and William Naylor, the senior partners in solictors' firm "Naylor and Freeman". Also starring a 34 year-old Geoffrey Palmer as junior solicitor Hugh Cowley. Produced by Jack Williams.
1.05 “Man of Straw” (26.07.1961)
1.07 “Strike Action” (09.08.1961)
1.20 “Statement of Affairs” (09.11.1961)
Deadline Midnight (ATV 1960-1961, 39 x 50m)
Drama series featuring the characters and events involved in the workings of a national newspaper, the Daily Globe. Sounds good, actually.
2.17 “Man in a Frame” (30.9.1961)
Emergency – Ward 10 (ATV 1957-1967)
A stupendous 50 episodes tx between 19 June 1962 and 20 December 1963
Dr Finlay’s Casebook (BBC/BBC One, 1962-1971)
Very famous drama series created by A. J. Cronin, about the doctors of a country practice in the Scottish village of Tannochbrae. Starring Bill Simpson as Finlay, the junior partner in the practice, Andrew Cruickshank as Dr. Cameron, the craggy senior partner, and Barbara Mullen as unflappable housekeeper/receptionist Janet.
2.33 “The Hallelujah Stakes” (10.5.1964)
2.36 “The Old Indomitable” (31.5.1964)
2.40 “The Doctor Cried” (28.6.1964)
3.07 “Charity, Dr Finlay” (14.2.1965)
No Hiding Place (Associated-Rediffusion 1959-1967, 236 episodes)
Being the adventures of Detective Chief Superintendent Tom Lockhart of Scotland Yard, played by Raymond Francis. The character of Lockhart had already toplined no less than two earlier series, Murder Bag (1957-59) and Crime Sheet (1959). Spin-offs are fun.
7.07 “Blood and Water” (15.3.1965)
7.21 “A Cry for Help” (24.6.1965)
8.07 “Run Johnnie, Run” (15.12.1965)
9.07 “The Night Walker” (15.6.1966)
9.10 “Golden Boy” (6.7.1966)
10.12 “Who is this Mortimer?” (8.6.1967)
Undermind (ABC 1965, 11 x 50m)
Robert Banks Stewart-devised series about a group of extra-terrestrials attempting to undermine human society from within. Jeremy Wilkin starred as a young personnel officer who was on their case. Shades of Invasion of the Body Snatchers and the still-to-come US series The Invaders.
1.10 “Waves of Sound” (10.7.1965)
1.11 “End Signal” (17.7.1965)
INVASION (feature film!) (Merton Park Studios, classified "U" by the BBFC on 21.10.1965)
Written by Roger Marshall from an original story by Robert Holmes. Produced by Jack Greenwood and directed by Alan Bridges.
The unexpected arrival of an alien space traveller creates problems at a rural hospital. Starring The Day the Earth Caught Fire's Edward Judd with Valerie Gearon, Lyndon Brook, Barrie Ingham and Yoko Tani. Ultra-low budget and quite dull, but interesting in that several story elements were reused by Holmes for Doctor Who - "Spearhead from Space" four years later.
Intrigue (ABC 1966, 13 x 50m)
Industrial espionage drama series starring Edward Judd (so soon?) as a freelance security expert, Gavin Grant. Created by Tony Williamson.
1.08 “Fifty Million Taste Buds Can’t Be Wrong” (19.11.1966)
Mr Rose (Granada 1967-8, approx. 26 x 50m)
William Mervyn starred as retired Chief Inspector Charles Rose, a character who had featured in two earlier Granada crime series, The Odd Man (1962-3) and It’s Dark Outside (1964-5). There should be far more such jumping about from series to series for television characters nowadays.
1.05 “The Jolly Swagman” (17.3.1967)
1.06 “The Unquiet Ghost” (24.3.1967)
2.01 “The Frozen Swede” (31.5.1968)
Market in Honey Lane (ATV 1967-68, 26 x 50m)
Drama-soap series, created by Louis Marks, set in a London street market. Starring John Bennett (Li H'sen Chang in Holmes' 1977 Doctor Who story "The Talons of Weng-Chiang").
S1 E04 “Snap” (24.04.1967)
S2 E06 “The Matchmakers” (1.2.1968) by Louis Marks based on an idea by Robert Holmes
S2 E09 “The Organisers” (22.02.1968)
Frontier (Thames TV 1968, 8 x 50m)
A very early series from Thames Television, which began transmissions on 30 July 1968. Adventure serial recounting tales of a fictitious British batallion in Northern India during the 1880s. Produced by Michael Chapman.
1.06 “Mutiny” (04.09.1968)
Honey Lane (ATV 1968-69, 52 x 25m / 13 x 40m)
Twice-weekly afternoon half-hour revamp of Market in Honey Lane (see above). Weekly again from Series Two.
At least 16 episodes over a 10-month period:
S1, E07 tx 22.10.1968
S1, E08 tx 28.10.1968
S1, E17 tx 26.11.1968
S1, E18 tx 28.11.1968
S1, E25 tx 24.12.1968
S1, E26 tx 26.12.1968
S1, E33 tx 20.01.1969
S1, E34 tx 22.01.1969
S1, E41 tx 17.02.1969
S1, E42 tx 18.02.1969
S1, E46 tx 04.03.1969
S1, E49 tx 17.03.1969
S1, E50 tx 18.03.1969
S2, E02 tx 17.07.1969
S2, E06 tx 14.08.1969
S2, E09 tx 04.09.1969
Series ended on E13 – possibly others written by Holmes
The Saint (ATV 1962-9, 118 x 50m)
The most famous screen incarnation of Leslie Charteris’ modern day Robin Hood, starring Roger Moore as Simon Templar.
6.11 “The Scales of Justice” (1.12.1968)
Doctor Who (BBC tv/BBC1 1963-89, 695 episodes usually of 25m)
The granddaddy of this list obviously. Mr Holmes initially wrote "The Krotons" (4 eps, 28.12.1968-18.1.1969), "The Space Pirates" (6 eps, 8.3.1969-12.4.1969), "Spearhead from Space" (4 eps, 3.1.1970-24.1.1970), "Terror of the Autons" (4 eps, 2.1.1971-23.1.1971), "Carnival of Monsters" (4 eps, 27.1.1973-17.2.1973) and "The Time Warrior" (4 eps, 15.12.1973-5.1.1974).
He then served a glorious 3+ year stint as Script Editor alongside Producer Philip Hinchcliffe (later Graham Williams), 1974-77 (twenty stories, 84 episodes) during which he wrote, unofficially, "The Ark in Space" (rewriting John Lucarotti) (4 eps, 25.1.1975-15.2.1975), "Revenge of the Cybermen" (rewriting Gerry Davis) (4 eps, 19.4.1975-10.5.1975), "Pyramids of Mars" (rewriting Lewis Griefer as "Stephen Harris") (4 eps, 25.10.1975-15.11.1975) and "The Brain of Morbius" (rewriting Terrance Dicks as "Robin Bland") (4 eps, 3.1.1976-24.1.1976); also, officially again, "The Deadly Assassin" (4 eps, 30.10.1976-20.11.1976), "The Talons of Weng-Chiang" (6 eps, 26.2.1977-2.4.1977) and "The Sun Makers" (4 eps, 26.11.1977-17.12.1977).
Freelance again, he wrote "The Ribos Operation" (4 eps, 2.9.1978-23.9.1978) and "The Power of Kroll" (4 eps, 23.12.1978-13.1.1979), then taking a lengthy break from the show before returning for "The Caves of Androzani" (4 eps, 8.3.1984-16.3.1984), "The Two Doctors" (3 x 45m, 16.2.1985-2.3.1985) and finally Parts One to Four and Thirteen of "The Trial of a Time Lord" (5 eps, 6.9.1986-27.9.1986 and 29.11.1986).
I calculate Holmes wrote approx. 76 episodes of the series and 18 full stories between 1968-86 (Russell T Davies wrote 31 episodes and 25 full stories of the new series between 2005-10).
The Inside Man (LWT 17.1.1969-4.4.1969, 12 x 50m)
Frederick Jaeger as doctor-psychiatrist-criminologist Dr James Austen.
S1, E09 “The Spy Vanishes” (14.03.1969)
Fraud Squad (ATV 1969-70, 26 x 50m)
Police drama created by Ivor Jay relating the cases of the Fraud Squad on the trail of fraudulent crime at all levels of society, from boardroom to bingo hall. Starring Patrick O'Connell and Joanna Van Gyseghem.
1.01 “Turbot on Ice” (20.05.1969)
1.03 “Last Exit to Liechtenstein” (03.06.1969)
1.13 “Anybody Here Seen Kelly?” (12.08.1969)
2.13 “The Price of a Copper” (12.12.1970)
Happy Ever After (ATV 1969-70, 14 x 50m)
A collection of hour-long plays, produced by John Cooper.
1.5 “The Prank” (16.12.1969)
Doomwatch (BBC1 1970-2, 38 x 50m)
Science fiction series created by Kit Pedler and Gerry Davis about a government agency investigating ecological threats.
2.11 “The Inquest” (1.3.1971)
Spyder’s Web (ATV 1972, 13 x 50m)
Espionage series created by Richard Harris and starring Patricia Cutts, Anthony Ainley and Veronica Carlson as agents working undercover for government agency ‘The Web’.
1.11 “Nobody’s Strawberry Fool” (31.3.1971)
Trial (BBC 1971, 13 episodes)
Details decidedly sketchy on this one – serial about a murder trial apparently.
1.10 “Mister X” (28.10.1971)
Dead of Night (BBC2 1972, 7 x 50m)
Supernatural anthology series produced by Innes Lloyd. Holmes’ episode, which concerns an airline pilot (Peter Barkworth) being haunted by a wartime bomber crew, is one of only three still remaining in the archives. Episode directed by Rodney Bennett.
Episode 2 “Return Flight” (12.11.1972)
The Regiment (BBC1 1972-3, 23 x 50m)
Drama series tracing a British army regiment through the Boer War to India in 1904, and starring Christopher Cazenove and Michael Brennan. Second series produced by Terence Dudley.
2.02 “Depot” (2.3.1973)
2.11 “North West Frontier” (4.5.1973)
Warship (BBC1 1973-7, 45 x 50m)
Drama series about frigate HMS Hero and her crew, devised by Ian Mackintosh and Anthony Coburn (who originally produced).
1.5 “The Drop” (5.7.1973)
Spy Trap (BBC1 1972-5, 36 x 30m, 24 x 50m)
Adventures in espionage, originally shown in four-night-per-week serials, created by Robert Barr and starring Paul Daneman as Commander Ryan RN, head of “The Department”, a government agency somewhere between MI5 and MI6. Not talked about too much nowadays for some reason, would be wonderful to see some of this stuff...
2.05 “A Perfect Victim” (9.10.1973)
Dixon of Dock Green (BBC/BBC1 1955-76, 432 episodes)
Ted Willis’ very long-running series about PC, later Sergeant George Dixon (Jack Warner).
20.05 “The Unwanted” (26.1.1974)
General Hospital (ATV 1972-1979)
The lives and loves of the staff of a Midlands general hospital, Emergency - Ward 10 revisited really. Twice-weekly 30m afternoon episodes until 1975; 60m weekly peak-time thereafter.
2 half-hour episodes – 07.03.1974 & 08.03.1974
Blake’s 7 (BBC1 1978-81, 52 x 50m)
Terry Nation’s space opera about a band of intergalactic freedom fighters. Having turned down the post of Script Editor, and suggested eventual post holder Chris Boucher for the job, Holmes contributed four scripts.
2.07 “Killer” (20.2.1979)
2.11 “Gambit” (20.3.1979)
4.03 “Traitor” (12.10.1981)
4.11 “Orbit” (7.12.1981)
Armchair Thriller (Thames TV 1978/1980, 52 x 25m)
Robert Holmes served as Story Editor on Series 2 of this popular ITV anthology series (Robert Banks Stewart having performed same duties on Series 1). The stories he worked on comprised “The Victim” (6 episodes – 8.1.1980-24.1.1980), “Dying Day” (4 eps - 12.2.1980-21.2.1980), “Fear of God” (4 eps, 26.2.1980-4.3.1980), “The Circe Complex” (6 eps, 25.3.1980-10.4.1980) and “The Chelsea Murders” (prepared as 6 eps but eventually shown as 104m special 30.12.1981).
Jukes of Piccadilly (Thames TV 1980, 6 x 25m)
Two-part comedy thrillers for children focussing on Brinsley Dukes (Nigel Hawthorne), owner of an exclusive tea emporium, who indulges in his hobby of private investigation. Devised by Robert Banks Stewart.
1.03/1.04 “The Case of the Arabian Kidnap” – Episodes 1 & 2 (25.2.1980 & 3.3.1980)
1.05/1.06 “The Dulverton Green” – Episodes 1 & 2 (10.3.1980 & 17.3.1980)
Directed by Terry Steel
Shoestring (BBC1 1979-80, 21 x 55m)
Robert Holmes was Script Editor (for the first six episodes of Series 2) on this series about phone-in private detective Eddie Shoestring, played by Trevor Eve. The episodes he is credited on are, in production order, “Room with a View” (5.10.1980), “Utmost Good Faith” (9.11.1980), “Mocking Bird” (19.10.1980), “The Mayfly Dance” (26.10.1980), “The Farmer Had a Wife” (2.11.1980) and “The Teddy Bears’ Nightmare” (12.10.1980). He was succeeded by Blake’s 7 Script Editor Chris Boucher.
The Nightmare Man (BBC1 1.5.1981-22.5.1981, 4 x 30m serial)
Fondly remembered thriller with science fiction overtones, adapted by Robert Holmes from David Wiltshire’s 1978 novel “Child of Vodyanoi” and directed by the great Douglas Camfield. Starring James Warwick, Celia Imrie and Maurice Roeves. I missed the first 10m of Part Four back in 1981, I don’t remember that so fondly.
Into the Labyrinth (HTV 1981-2, 21 x 25m)
Serials, devised by Bob Baker, about a trio of children assisting trapped magician Rothgo (Ron Moody) to regain his power source “The Nidus” and defeat evil witch Belor (Pamela Salem). Via the labyrinth they travel to various times & places in Earth’s history in their search. Probably inspired by Doctor Who’s ‘Key to Time’ season. Series 3 dispensed with two of the children and introduced a new magician, Lazlo (Chris Harris).
2.5 “Shadrach” (7.9.1981)
3.3 “Dr Jekyll and Mrs Hyde” (11.8.1982)
Juliet Bravo (BBC1 1980-85, 88 x 50m)
Ian Kennedy Martin’s popular Saturday night series about a female police inspector in a small northern town. Starring Stephanie Turner as Inspector Jean Darblay in the first three series.
3.05 “A Breach of the Peace” (2.10.1982)
Bergerac (BBC1 1981-91, 87 episodes mainly 50m plus Christmas specials)
Shoestring creator Robert Banks Stewart, who had worked with Holmes as far back as Knight Errant, created this Jersey-set policier when Trevor Eve decided against a third series. Starring John Nettles as the eponymous Detective Sergeart of the ‘Bureau des Étrangers’.
2.04 “Prime Target” - co-written with Robert Banks Stewart (30.1.1983)
3.07 “A Cry in the Night” (14.1.1984)
5.02 “Winner Takes All” (10.1.1987)*
*Probably filmed as part of the fourth production block in 1985.
Miracles Take Longer (Thames TV 1983-84, 36 x 25m)
Short-lived afternoon serial about a branch of the Citizens’ Advice Bureau.
S2, E13 (28.02.1984)
S2, E14 (29.02.1984)
S2, E15 (06.03.1984)
S2, E16 (07.03.1984)
S2, E18 (14.03.1984)
Robert Holmes sadly passed away on 24 May 1986 after a short illness. His last work was for Season 23 of Doctor Who; his last writing credit was Bergerac Series 5, Episode 2 "Winner Takes All". His legacy lives on.
|
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3360
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dbpedia
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https://www.comedy.co.uk/tv/demob/
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British Comedy Guide
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[
"Demob guide cast details episodes information Comedy Drama ITV1 1993 Griff Rhys Jones Martin Clunes Samantha Janus"
] | null |
[
"British Comedy Guide"
] | null |
A guide to Demob, the 1993 ITV1 TV comedy drama. Comedy drama following the attempts of two demobbed soldiers to start a new career in the theatre.
|
en
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British Comedy Guide
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https://www.comedy.co.uk/tv/demob/
|
Demob
TV comedy drama
ITV1
1993
6 episodes (1 series)
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3360
|
dbpedia
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2
| 40
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https://www.abebooks.com/9781857932102/Demob-Lemmon-Dean-Montgomery-Andrew-1857932102/plp
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en
|
Lemmon, Dean; Montgomery, Andrew: 9781857932102
|
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[
"Kenneth Harper"
] |
1993-08-13T00:00:00
|
Demob by Lemmon, Dean; Montgomery, Andrew - ISBN 10: 1857932102 - ISBN 13: 9781857932102 - Chrysalis Books - 1993 - Softcover
|
en
|
https://www.abebooks.com/9781857932102/Demob-Lemmon-Dean-Montgomery-Andrew-1857932102/plp
|
Demob
Lemmon, Dean
Published by Chrysalis Books, 1993
ISBN 10: 1857932102 / ISBN 13: 9781857932102
Used / Softcover
Quantity: 1 available
Condition: Gut. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages. Seller Inventory # M01857932102-V
Contact seller
Demob
HARPER, Kenneth
Published by Pavilion, London, 1993
ISBN 10: 1857932102 / ISBN 13: 9781857932102
Used / Softcover
Quantity: 1 available
A tidy copy. Adapted from an original script by Dean Lemmon and Andrew Montgomery. Used - Very Good. VG paperback TV tie-in. Seller Inventory # BOOKS013755I
Contact seller
|